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THE   MAGAZINE   DEVOTED   TO   AUDIO-VISUAL  AIDS   IN    EDUCATION 


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1>YMAMIC 

A  VITAL  TRAINING  FORCE  FOR  VICTORY  .  .  .  WITHOUT  EQUAL 

Materially  aiding  in  the  increased  Tempo  of  War  Training,  Victor  Animato- 
phones— the  outstanding  Sound  Motion  Picture  Projectors  in  the  16mm  field 
— are  playing  a  vital  role  in  instruction  and  inspiration  for  our  millions  in 
Military  Service,  Civilian  Defense,  and  War  Industries.  There  is  no  stronger 
training  force  than  Sight— Sound— Sequence.  .  .  .The  almost  continuous 
gruelling  service  these  machines  are  receiving  today,  attests  to  Victor  quality 
and  precision  craftsmanship  developed  painstakingly  in  years  that  have  passed. 


VICTOR  ANIMATOGRAPH  CORPORATION 


242  W.  55th  Street,  New  York 
188  W.  Rondolph  Street,  Chicago 

.    .    .    DAVENPORT,   IOWA 


December,   194} 


Page  407 


Index  to  Volume  XXII  (1943) 


FORMAL  AJtTICLES 

(Arranged  Alphabetically  by  Authors) 

Armu  Air  Forres,  Firrt  Motion  Picture  Unit,  Where  Cameras 

SlHiot    10    Kill Dec.  377 

Aughiubiinuh.  tt.  A.,  Film  Mutilation  and  Insurance  Protection  Feb.    52 
Collier.    Hnbert,    Jr.,    Systematic    Planning    and    Management 

of  a   Senior   High   School   Film  Program May  164 

Oiroii,  Dorothy  /.,  Community   Resources  Pave  the  Way.... Feb.  47 

Unif,   Samuel   K.,   Split-Second    Seeing -- Sept.  239 

Feuerlicht,  Maurice,  To  Your  Health,  Jose! Oct.  285 

Oeinel,  John  B.,  Visual  Aids  for  Mental  Hygiene Oct.  289 

ilodbey,    Gordon    C,    .\udio-Visual    Aids    at    Work    in    Signal 

Corps  Training   .  .__ Apr.  131 

Golden,  Kathan  U.,  Post  War  Visual  Education  Potentialities 

in  Latin  .\merica Dec.  380 

Greene,  Wesley,  The  Wartime  I'se  of  Films  in  Canada Mar.  86 

Gregory,  William  M.,  Maps  and  the  War June  200 

Ounttreum,  John  W.,  Texas  War  Film  Program .  .  .Jan.  C 

Hartley,    William  B.,   Utilizing  the  School-Made   Public   Rela- 
tions   Film    --Jan.  12 

Jakeman,  Adelbert  M..  Color  in  the  Knglish  Clai-s .  .  .May  168 

Johnson.    Waller,  Film  and  Slide  Bookina Mar.  89 

Klein,  U.  if.,  Visual  Aids  in  Cleveland  Schools Sept.  237 

Kroirs,  Arthur  Edwin,   Motion   Pictures — Not  for  Theatres 

Jan.    14,    Feb.   53.    Mar.   94,    Apr.    133,    May    170,  June 

206,   Sept.  243,  Oct.   295.   Nov.  338.    Dec,   383. 

Larson,  L.  C,  Trends  in  .Audio- Visual  Instruction, June  197 

Leder,  Jon  B..  School-Made  Kodachrome  ,SIidp  Units Apr.  126 

Lovcry,  Antoinette,  Sing  a  Song  of  Safe'y Mar.  91 

Mead,    Corinne,    Motion     Pictures    a     Stimulant    to    Reading 

Interest    Sept.  241 

Xacuue-Adler.    Frryda.    Studv    of    ■Bambi"     Inspires    Movie 

.Adaptation     ' Oct.  292 

Putnam,  Harold,  The  War  .Vgainst  War  Movies May  163 

Putnam,     Miriam,     Film    Forums — An     .Vdventure     in    Adult 

Education     Nov.  334 

Reed,  Paul  C,  OWI's  16mm  Motion  Picture  Program Sept,  233 

Schneider,  Darid,  Shape  of  Things  to  Come Dec.  375 

genechal,  J.   L.,   Pre-Induction  Training  with   Audio-   Visual 

Aids     3Mne  202 

Stilley,  Lavra,  The  Use  of  Visual  Aids  in  the  First  Grade.  .  .  .Jan.  9 

frolinger,  Lelia,  Visual  Instruction  m  Elementary  Schools.  .  .  .Nov.  331 

Vail  Fleet,  Julia,  The  Diorama  Comes  to  the  Classroom June  204 

Weingarten,  flamuel,  A  Junior  College   Demonstration  Room 

in    the    Humanities Feb.  44 

White,  Thnrman,  The  Oklahoma  Plan  for  State  Wide  Use  of 

War  Information  Films Apr,  128 

Williams,  Nicholas,  W.,  Motion  Pictures  Go  to  War Nov.  329 

THE  FILM   AND   INTEKNATIONAL   UNDERSTANDING 

(Dr.  Joh.v  E.   DinAX,  Editor) 

The  Cinema  in  World  Education  (Dr.  Paul  Monroe) Jan.      20 

Theory   and    Practice — OWI    Stresses    International    Under- 

st.anding  in  War  Films Feb.  59,  74 

Omaha   Students   "Listen   to   Britain" — Visual   Interpretation 

Courses — Film  Series  Builds  Morale  at  Home  and  Good 

Will   Abroad    Mar.   102 

Yale     Pioneers     in     Visual     Education     for     Foreign    Areas 

(C.  L.  y.  Weeks) Apr.    136 

Educational   Film   Plan  for  the  United  Nations    (Herbert  S. 

Houston     May    169 

Review  of  the  Department June  209 

.Inimated   Understanding    Sept.  247 

Films:  An  International  Language   (U.  .Samuel  F.  Harby)  ..  .Oct.      293 

Importance  of  Selecting  Films  with  Care Nov.    337 

Photoplays  for  International  Understanding   (Willitim  Lewin)   Dec.    388 

THE  LITERATURE  IN  VISUAL  INSTKUCTION 

(Ett.i  Schneider  Ress,  Editor) 
Administration 

The  Use  of  Educational  Film  Libraries  in  the  Distribution  of  War 
Films  (L.  C.  Larson,  Film  &  Radio  Guide) — Jan  p.  28  .  ,  .  How  One 
Countv  System  Uses  Audio-Visual  Aids  (Leah  Phillips,  Sch.  Mgmt.)  ; 
Films 'for  Defense  (OCD  Bui.) — Feb,  p.  66  .  .  .  Audio-Visual  Aids: 
Some  Suggestions  for  Wartime  (TVorrf  Bouen.  Amer,  Sch.  Bd.  J1-) '■ 
Films  in  Western  Teaching  (George  Blaisdell.  Movie  Makers) — May 
p.  173  .  .  .  Planning  a  Visual  Center  iJ .  P.  Fitzwater,  Nat.  Sch.) — 
.Sept.  p.  254  ...  A  Functional  Visual-.\ids  Program  IE.  J.  Ealney,  Sch. 
Ex.)— Oct.  p.  304  .  .  .  Films  Help  the  War  Effort  (V.  UcGarrett,  High 
Points);  Plan  Buildings  for  Visual  -Aids  (E.  C.  Dent,  Amer.  Sch,  Bd. 
Jl.)  ;  A  Sound  Film  Program  in  a  Small  .System  (John  DeBeer,  Sch. 
Ex  )  ;  Organization  of  the  Visual  Education  Program  (F.  M.  McEinney, 
Sierra  Ed.  News) — Nov,  p.  341  .  .  .  Seeing  Is  Believing  (Dorothea 
Pellett,  Kan.  Tchr.) — Dec.  p.  386. 

Utilization 

Film  Utilization  Guide  (Mich.  U.) :  X  Program  of  Visual  Education 
for  Conservation  of  Tidewater  Fisheries  (H.  J.  Davis,  Va.  Jl.  Ed.) — 
.Tan.  p.  2H  .  .  .  Visual  Aids  Quicken  Learning  (Ralph  Whalen,  Ind. 
Arts  &  Voc.  Ed.)  ;  Science  Films  as  Demonstration  (Paul  Brandwein, 
High  Points);  The  Motion  Picture  and  the  Teacher  (Hardy  Finch,  ed.) 
Pan-American  Movie  Club  (CecUia  Schmid,  Chicago  Sch.  Jl.) — Mar. 
p.  104  .  .  .  Classroom  Use  of  Films  (Child-Finch.  Sch.  Mgmt.)  ;  Visual 
Aids  in  Classroom  Instruction  (£.  L.  Austin,  Ag.  Ed.);  Educational 
Cinema  Take  a  New  Lease  on  Life  (Mary  Field,  Sch.  Ex.)  ;  Sight  and 
Sound  Dramatize  Wartime  Economics  (OPA  Bui.);  Audio-Visual  Aids 
Pay  Dividends  (GoudyXoel.  Bus,  Ed.  World) — Oct.  p.  304  .  .  .  Audio 
Visual  Materials  Tried  and  True  (Goudy-Soel.  Bus.  Ed.  World) — Nov. 
p  342  .  .  .  Visual  Aids  in  Industrial  Training  (Natl.  Ind.  Conf.  Bd.)  ; 
The  World  Ahead;  Films  Mav  Have  Big  Role  in  Retraining  Service 
Men  for  Industry  (Emmet  Crazier.  N.Y.  Herald  Tribune);  Free  Films 
Speed  Civilian  War  Training  (If.  M.  Enzer,  N.Y.  State  Ed.) — Dec. 
p.  3S6. 


1133<»7 


Slides,  Slideaims,  Pictures 

Color  Slides  as  an  Aid  to  Classroom  Teaching  (Hans  van  Weeren- 
Griek,  Va,  Jl.  Ed.);  Follow  Through  with  2x2  (Frank  Wheat,  Teaching 
Biol.):  Illustrative  Materials  for  Conservation  Education  (W.  H. 
Hartley,  Jl.  Geog.) — Feb.  p.  66,  68  ,  ,  ,  Picture  Collection  in  Hill  School 
Library  (/.  V.  Moffat.  Lib.  Jl. ) — Apr.  p.  149  .  ,  ,  The  Pic'ure  Collec- 
tion (H.  W.  Wilson  Co.) — June  p.  214  ,  ,  ,  The  Probable  Role  of  the 
Sound  slide  Film  in  Postwar  Education  (E.  C.  Dent,  Amer,  Sch.  Bd. 
Jl.  Sept.  p.  254  .  .  .  Getting  Results  with  the  Stereopticon  (Anderson 
Crain,  Church  Mgmt.) — Nov.  p.  341. 

Masearos  and  Libraries 

The  Future  of  Education  in  Museums  (Alfred  Busselle,  Jr.,  Educa- 
lion)  ;  Museum  Education  After  the  War  (C.  H.  .Sawyer,  Education)  — 
Mar.  p.  104  .  .  .  Children  See  and  Do  in  This  Museum  (Grace  Fisher 
Ramsey,  Sch.  Ex.) — Apr.  p.  148  .  .  .  Audio- Visual  and  Other  Aids  to 
Learning  (Lib'y  in  Gen'l  Ed);  Films  in  Cleveland  (R.  R.  Munn, 
.Vmer.  Lib.  ^Assn.  Bui.) — May  p.  173  .  .  .  Film  Forums  in  Libraries 
(Mary  E.  Townes,  Adult  Ed.  Jl.) — Nov.  p.  341  .  .  .  Valentine  Museum 
Goes  to  Schools  (Naomi  Gooch-Tirginia  Claiborne,  Va.  Jl.  Ed.) — 
Dec.  p.  386. 

Maps 

New  U.  S. -Centered  World  Map  for  Air-Minded  Americans  (N.  L. 
Engelhardt,  Jr.,  Vis,  News);  Maps  in  War  Time  (W .  W.  Rislow,  Edu. 
cation) — Apr.  p.  148  .  .  .  What  Is  the  World  Coming  To?  (E.  R. 
.Smith,  Sch.  Ex.) — May  p.  186  .  .  .  Developing  Map  Reading  Skills  for 
Global  Emphasis  (E.  A.  Fuller,  Jl.  Geog.);  Map  Reading  (Elaine 
Forsythe,  Jl.  Geog.);  Maps:  How  to  Make  Them  and  Read  Them 
{Walter  Ristow,  Jl.  Geog.);  Flat  Maps  Are  Not  Enough  (J.  R. 
Whitaker,  Nat.  Sch.) — Nov.  p.  341. 

Projection  and  Equipment 

Acoustic  Performance  of  16mm  Sound  Motion  Picture  Projectors 
(Wilbert  F.  Snyder) — Mar.  p.  106  .  .  .  Optical  and  Mechanical  Char- 
acteristics of  16mm  Motion  Picture  Projectors  (Robert  E.  Stephens) — 
May  p.  186  ...  On  With  the  Show  (Edward  Pyle,  Jr.,  Amer.  Cine- 
matographer)  ;  Projection  Is  Fun  (Holton  Howell,  Movie  Makers) — 
Oct.  p.  304  ..  .  Visual  and  Other  Aids  (M.  P.  Bunt,  Soc.  Studies)  — 
Dec.  p.  401. 

PhotoKraphy  and  School  Production  of  Visual  Aids 

Are  School  Movie  Clubs  Worthwhile?  (DoTiald  Eldridge,  Movie  Makers) 
— Feb.  p.  68  .  .  .  Photographic  Aids  to  Teaching  (Charles  Tanzer, 
Sch.  Sci.  &  Math.) — April  p.  150  .  .  .  Song  Slides  (<?.  W.  Leman, 
Nat.  Sch.);  Movies  Make  Friends  (F.  E.  Williams,  Sch.  Ex.) — May 
p.  173  .  .  .  Supplement  with  Pupil-Made  Aids  (FinchChUd,  Nat.  Sch.) 
— Oct.  p.  304  .  .  .  The  Practical  Use  of  Kodachrome  Film  (Ralph 
DeLano,  Sch.  Sci.  &  Math.) — Nov.  p.  342. 

Radio  and  Recordings 

Radio  Is  Dynamite  I  (Elizabeth  Ooxidy,  CI.  House) — Jan.  p.  28  .  .  . 
How  Radio  Can  Contribute  to  Creative  Living  (Dorothy  Gordon.  Child- 
hood Ed.) — Apr.  p.  150  ...  A  Comparison  of  Photographic  Record- 
ings with  Printed  Material  in  a  Teaching  Unit  (Philip  J.  Rvlon,  Har- 
vard Ed,  Rev,)  ;  Phonograph  Records  as  an  Aid  to  Learning  in  Rural 
Elementary  Schools  (Eifie  Bathurst)  Radio  Appreciation  in  Sec- 
ondary Schools  (C.  /.  Glicksberg,  Cur,  Jl.) — June  n.  214,  216 
...  A  New  Clearing  House  for  Educational  Recordings  (N.  Y.  U.  Film 
Lib.);  High  School  on  the  Air  (K.  D.  Hurley,  Sierra  Ed.  News); 
We're  Wondering  (Georgiana  Browne,  Sierra  Ed.  News) — Sept.  p.  254 
.  .  .  Radio  Appreciation  (Samuel  GUburt,  Eng,  Jl,)  ;  Radio  Classes  in 
High  School  Wartime  Program  (Cyretta  Morford,  Qu.  Jl.  Speech); 
Educational  Broadcasting  After  the  War  (G.  S.  McCue,  Qu.  Jl. 
Speech) — Nov.  p.  342. 

Photoplay   Appreciation 

Improving  Pupils'  Experiences  in  Moving  Pictures  (A.  L.  Morgan, 
CI.  House);  High  School  Students  Are  Picture  Conscious  (IF.  C. 
Cherrington,  Ida.  Jl.  Ed.) — Apr.  p.  148  ...  An  Index  to  the  Creative 
Work  of  Erich  von  Stroheim  (H.  G.  Weinberg,  Sight  &  Sound) ;  A 
Course  in  Film  Appreciation  (S.  27.  Argent,  Sight  &  Sound) — Oct. 
p.  306. 

Book  Reviews  and  Periodicals 

Participation  the  Last  Word  in  Films  (Bruce  Findlay) — Jan.  p.  28 
.  .  .  The  Theory  of  the  Photographic  Process  (O.  E.  Jf«e»)— Mar. 
p.  106  .  .  .  Sight  and  Sound — Apr.  p.  150  .  .  .  Visual  Review — May 
p.  187  .  .  .  Radio-Electronics  in  Education — June  p.  216  .  .  .  Our 
Neighbors  in  North  Africa   (Building  America) — Nov.  p.  342. 

Sources  of  Information 

Bibiliography  of  Motion  Pictures  for  Vocational  and  Technical  Schools 
(G.  G.  Weaver)  :  Resource  Units  for  Teachers  in  Pre-Flight  Aero- 
nautics; Visual  Aids  for  Pre-Flight  Aeronautics  Education;  Health 
Films — Jan.  p.  29  .  .  .  Mathematics  Visual  and  Teaching  Aids  (BUde- 
brandt-Beimers)  ;  List  of  Films  .Available  to  Civilian  Defense  Councils— 
Feb.  p.  69  .  .  .  Films  for  the  Community  in  Wartime  I  Mary  Losey); 
Flying  and  Weather  (Liii  Heimers):  Bibliography  of  Aviation  Educa- 
tion materials  (Cath-ritxe  Carturight) — Mar.  p.  106  .  .  .  Films  for 
.\merica  at  War  (Amer.  Council  Ed.)  :  Selected  List  of  Films  for 
Pre-Flight  Aeronautics — Apr.  p.  150  .  .  .Free  and  Inexpensive  Learning 
Materials  {Lucille  Denham)  :  Illustrative  Materials  for  Conservation 
Education  (W.  H.  Hartley):  Teaching  Materials  for  Industrial  Educa- 
tion (C.  H.  Grnneman) — June  p.  216  .  .  .  French  Films  for  American 
Schools  (C.  U.  Ackerman):  Science  (G.  E.  Flimlin) — Sept.  p.  254  .  .  . 
Classified  Annotated  List  of  Available  Films  on  Riding  and  Horses 
(Phyllis  ran  Vleet)  ;  Educators  Guide  to  Free  Films  (Horkheimer- 
Diffor)  ;  Films  on  the  United  Nations — Oct.  p.  306  .  .  .  The  New  in 
Review  (Alice  Miel)  ;  Let's  Help  You  Find  It;  Films  for  ClassroomUse 
(Margaret  Eneerim)  ;  Safety  Films;  The  Other  Americas  through  Films 
and  Records — Nov.  p.  342  .  .  .New  Tools  for  Learning  about  War  and 
Postwar  Problems:  Bibliography  of  Visual  Aids  for  Pre-Induction 
Training — Dec.    p.    401. 


OCT  2  0  1944 


Page  408 


The  Educational  Screen 


Miscellaneous 

Visual  Learning  Guides — Feb.  p.  169  .  .  .  Why  Children  Read  the 
Comics  (Ruth  Utrang,  El.  Sch.  Jl.)  May  p.  186  .  .  .  New  Techniques 
in  Mass  Ertuct-tion  (Omeii  Welles,  Adult  Ed.  Jl. )  ;  Let  Us  Mix  Palestine 
and  Hollywood  (3/ari/  White,  Int'l  Jl.  Relig.  Ed.);  The  Cracked  Voice 
o£  Propaganda  (Doc.  News  Letter) — June  p.  214  .  .  .  The  Basic 
English  Teaching  Films  (Mary  L.  Guyton,  Adult  Ed.  Bui.) — Sept. 
p.  254  .  .  .  Problems  in  the  Production  of  U.  S.  Navy  Training  Films 
(Orville  Ooldner,  Jl.  SMPE)— Nov.  p.  342  .  .  .  Education  Raises  Its 
Sights  (Earl  Selby,  Coronet):  Movies  in  the  Postwar  World  (W.  11'. 
Pettit,  New  Movies) — Dec.  p.  386. 

EXPERIMENTAL   RESEARCH    IN   AUDIO-VISUAL   EDUCATON 

(D.vviD  Goodman,   Editor) 

An    Experimental    Study   of   the    Effectiveness  of    Motion    Pic- 
tures in  Teaching  General  Science  (W.  Kenneth  Baker)  .  .Jan,       27 

The  Effect  of  Two  Slidefilms  on  the  Development  of  Desirable 

Social  Attitudes   (Janey  Evelyn  Uaneline) Feb.       65 

The  Principles,  Origin  and  Early  Development  of  Educa- 
tional  Realism    (Louift   Goodman) Mar.    108 

A  Survey  of  Visual  Aids  in  the  Cincinnati  School  System — 
An  Evaluation  of  Educational  Films  in  the  Fort  Worth 
School  Film  Library  (Seth  V.  Strain) Apr.  142,  151 

Audio-Vifual  Aids  in  the  Teaching  of  the  Social  Studies  (H.  E. 

Headley)      May    178 

A    Study   of    Audience    Reactions   to   Two    Educational   Films 

(A.  F.  Sturmthal-Alberta  Curtis) Oct.    306 

An     Experimental     Study     of    Children's     Understanding     of 

Instructional  Materials   (Marie  Godwin  Halhert) Nov.   348 

THE   DEPARTMENT   OF   VISUAL   INSTRUCTION 

Tentative    DVI    Program — Zone    Officers — Metropolitan    New 

York  Branch  Program — Zone  VII  Meets Jan.       19 

Change    in    Officers    for    Zone    IV — Metropolitan    New    York 

Branch    Programs — News   of    Members Mar.   110 

Visual     Education    Meeting    in     Boston — Members    with    the 

Armed  Forces   Apr.    139 

New  Zone  Oflicers — DVI   Members  Serving  the   Government.  .June  219 

SCHOOL-MADE  MOTION  PICTURES 

(Hardy  R.  Pinch,  Editor) 

(Question  Box  on  School  Film  Production  in  every  issue — ■ 

conducted  by  Donald  A.  Eldbidoe) 

Hoover  High  Prepares Jan.      22 

Medical    Subjects — Prize    Winners — Film    Tells    University's 

War  Program    Feb.      60 

Selling  the  School  through  Movies Mar.     99 

A  Hobby  Makes  a  Classroom  Picture Apr.    140 

Nebraska   School    Films   Activities May    176 

Students  Make  Biology  Film June  210 

A  Documentary  Film  in  8mm — Illinois  University  Filmed — 

Pasadena   ,School   Productions    Sept.  256 

Film  Presents  the  Evolution  of  Art Oct.     299 

Film  Story  of  Michigan  School — Courses  in  Film  Production — 

Insurance  of  Equipment — Yearbook  Recognizes  Value  of 

Public   Relations  Films    Nov.    344 

Biology  High    School   Class   Produces   Teaching  Film Dec.  392 

NEWS  AND  NOTES 

(.TosEPHiNE    Hoffman,    Editor) 
Winner  of  Maxim  Award  for  Best  Non-Theatrical  Film — High  School 
Victory     Corps — Filming     the    African     Battlefront — With     the     U.     S. 

Forces    Jan.  30-31 

Over  Two  Million  See  Inter- American  Films — Connecticut  Association 
Plan  Meeting  by  Radio — New  Supervisor  for  Virginia  Audio-Visual 
Bureau — Teaching    Aids    for    the    Wartime    Program — Civilian    Defense 

Organizations  Produce — "Ten  Best"  Theatrical  Features  of  1943 

.  Feb.    72-74 

United  Nations  Collaborate  on  Distribution  of  Educational  Films — 
British  Films  Reach  Varied  Audiences — Pan  American  Day  Materials 
Stress  Wartime  Role  of  Renublics — Indiana  War  Film  Program — 
.VNFA    Hold    Open   Meeting — Industrial   Training    Films    in    Production 

Mar.  112-115 

XAVED  Reports  on  Current  Developments — Notable  British  Film  on 
African   Campaign   Released — School   Use   of   Inter- American   Films.  .  .  . 

Apr.    144-46 

Educational  Film  Library  A.ssociation  Organized — Red  Cross  Brings 
Films    to    Army    Hospitals — Pennsylvania    Defense    Film    Committee — 

Films  on  Belgium May   180-82 

Adult  Education  with  Films  at  Boston  University — SMPE  Sessions 
Feature  Induftry's  War  Contribution — Changes  in  Detroit  Visual 
Department — TJruguayan   Educator   Visits   the   U     S. — lEA    Film   Goes 

to  South  America — -Fighting  French  Distribute  Films  in  U.  S 

June  220-21 

Budget  Curtailment  Eliminates  OWI  Film  Production — Keagan  Head 
of  OWI  Educational  Division — Combat  Films  Revolutionize  R.A.F. 
Gunnery  Tactics — New  USOK  Visual  Unit* — Deposit  of  U.  S.  Films 
in  the  Library  of  Congress — Tennessee  Plans  Annual  Visual  Education 
Conferences — Visual  Education  Continues  to  Function  at  Chinese 
Universitv — Recommended  Procedure  for  Schools  Desiring  New  Pro- 
jection Equipment — NAVED  Board  Meeting Sept. 264-67 

OWI  Continues  Film  Circulation — WAAC  Recognizes  Value  of  Visual 
.\ids — War    Savings    Filmstrip    for    Elementary    Schools — Castle    Films 


Retain    USOE    Films— OPA    Bulletin    Suggests    Wartime    Activities    for 

New  School  iear.       .......    Oct.  308-09 

films  for  OWI  Campaign  Programs — Song  Collection  for  School  War 
Programs— .Southern  Conference  Not  to  Meet— Army  Films  Released 
oo''„„''"oil"''''''"''''  Showings — School  Broadcast  Conference  November 
za-iO — SMPL     Semi-Annual     Meeting — Meetings    of    Visual     Education 

•^T-P'   •-,;-■, i.: Nov.  354-57 

Disney  I  ilms  to  Educate  the  Illiterate— Television  Developments 
iorecast— CIAA  Film  Program  Progresses— Photographic  Equipment 
A.ssociation  Meets — Visual  Workers  in  New  Locations ....  Dec.  398-400 

NEW  FILMS  OF  THE  MONTH 

(L.  C.   Lakson,  Editor) 

Monthly  Evaluations  of  Educational  Films  by  a  Teacher  Committee 

The  Airplane  Changes  the  World  Map;  Rough  Turning  between 
l^enters;  Balloons;  Construction  of  a  Light  Airplane.  .  .  Feb    70-71 

Far  Western  States;  South  of  the  Border;  Pood— Weapon  of  Con- 
quest ;  Wings  Up;  This  Is  the  Bowery gept    260-63 

Campus  Frontiers;  Wings  of  Youth;  World  of  Plenty;  This  Too  Is 
Sabotage    '  '    Qct    310-12 

(3rain  That  Built  a  Hemisphere ;  The  Ruby  Throated  Hummingbird ; 
Soldiers  of  the  Soil;  New  Earth Nov.  350-62 

CURRENT  FILM  NEWS 

Announcements  and  brief  descriptions  of  new  aims,  with  sources  on 
following  pages:  Jan.  32.  34 — Feb.  86,  78 — Mar.  116,  118— Apr  152 
154 — May  184— June  222-23 — Sept.  270,  272-73 — Oct  316  319—^ 
Nov.  358,  362  .  .  .  Dec.  402. 

AMONG  THE  PRODUCERS 

o,-?'"?;  "Y"  J.'lniosound  Projector— Death  of  Bell  Howell  OfHcial— 
blidefllms  for  Training  Shipfitters — New  Y'ork  Advertising  Club  Honors 
Bra.v — Teaching  Unit  on  Safety jgn    35 

Kodachrome  Slides  on  Nature  Subjects — RCA  Victor  Service  for 
Schools — New  Series  of  Radio  Transcriptions Feb    79 

Another  Source  of  2x2  Kodachrome  Slides — Bausch  &  Lomb  at  War- 
Free  Films  Source  Directory jjar    119 

E.  C.  Dent  Appointed  SVE  General  Manager — Visual  Unit  on  Slide- 
film  Utilization — Keystone  Aircraft  Slides — Scenic  West  in  Kodachromes 
—Visual  Aids  on  the  Netherlands — RCA  Spanish  Music  Records — Koda 
chrome  Slides  on  Historic  Philadelphia Apr    153-54 

New  Aircraft  Identification  Kit — Ampro  War  Model  Projector- 
Filmslide  on  Highway  Program — DeVry  Awarded  Armv-Navy  "E" — 
United   Air   Lines   Filmstrip — New  Slide   Binders  for  Kodachromes 

,•,:■••,■;.•.•••,•■•••. .••••■••: May   188.190 

Visual  Aids  for  Industrial  Training — Keystone  Slides  on  Aeronautics 

• ■,;••. June   223 

Coronet  Magazine  Announces  New  Visual  Aids  for  Schools — New 
Slides  for  Aircraft  Identification  Kit — Radiant's  New  Screens  of  Non 
Critical  Mattrials — SVE  Projectors  for  Pre-Induction  Training  Courses — 
Filmstrips  Present  the  History  of  Aeronautics — New  Science  of  Opti- 
Onics — "Eye  School"  Established  by  Jam  Handy — Bird  Pictures  in 
Color — News  Publications — Texas  Visual  Education  Co.  Changes 
"»5;«  •  -. Sept.  274-75 

Teaching  Aids  for  Mechanical  Drawing  Classes — Animals  and  Birds 
in  Kodachrome — Filmatic  Triple-Purpose  Projector — Radiant's  New 
Catalog — DeVry  Earns  New  Award — Slidefilms  on  Industrial  Health 
and  Safety   Oct.  318 

New  List  of  Slidefilms  for  Pre-Induction  Training  Courses — DeVrv 
8mm  Design  Competition — Slidefllm  Unit  on  Mathematics — $50  Prize 
"Film-Idea"  Contest — RCA  Booklet  on  the  School  of  Tomorrow — 
Charles  R.  Crakes,  Educator,  with  DeVry Nov.  360-362 

New  Kodachromes  of  Flags  and  Emblems  of  American  Republics — 
2x2  Radio  Mat  Slides — Victor  Moves  New  York  Office — DeVry  Observes 
Anniversary — .Jam   Handy  A'isual  Aids   Catalog Dec.    404 

MISCELLANEOUS 

Edison  Tried  It,  Too   (WiUinm  L.  Jamison) Jan.        17 

Training  Films  Featured  at  Vocational  Meeting Feb.       56 

Pre-Induction  Training  Course  Outlines Feb.       64 

Training    Millions — with     Movies     (J.    H.     McXabb) Mar.      97 

Weekly  United  Nations  Film  Programs  in  Chicago Apr.    132 

Summer    Courses    in    Visual    and    Audio-Visual    Instruction 

Apr.  138,  May  175,  June  218 

"The  Power  of  God"^ — Film  Review May    182 

Midwestern  Forum  on  Visual  Teaching  Aids June  212,  Sept.  248 

Film  Reviews — "Use  and  Care  of  the  Filmosound  Projector;" 

*'Matt  Mann  and  His  Swimming  Techniques June  218 

Education  and  Legislation — An  Editorial  (Nelson  L.  Greene)  .Sept.  231 

16mm  War  Film  Committee  Organized Sept.  242 

Pertinent  Pictures   Sept.  249 

Pacific  Northwest  Audio-Visual  Conference  (Curtis  JZcW)  .  , .  .Sept.  259 

Amelia   Meissner  Retires Oct.    302 

The  Visual  Idea  at  Work  in  War Nov.    343 

16mm  Advisory  Committee  Confers  with  OWI  Officials Dec.    372 

Erpi  Classroom  Films  Purchased  by  University  of  Chicago.  .  .  .Dec.  396 
New  WPB  Regulation  Permits  Schools  to  Purchase  Projection 

Equipment  without   Priority   Ratings Dec.  896 

Hand-Made  Lantern  Slides  (Ann  Gale)  The  Air  Age  (Mar.  p. 

101)  ;  Soei.Tl  Changes  in  the  Air  Age  (May  p.  174)  :  The 

Post-War  World  Here    (Oct.  p.   298)  ;    Post-War  World 

(Dec.  p.  387) 


The  EDUCATIONAL  SCREEN 


THE  EDUCATIONAL  SCREEN 

Staff 

Nelson  L.  Greene    -    -    -    Editor-in-Chief 

Evelyn  J.  Baker    -    Advertising  Manager 

Josephine  Hoffman     -    -    Office  Manager 

Department    Editors 

John  E.  Dugan    -    Haddon  Heights,  N.  J. 

Donald  A.  Eldridge    -     New  Haven,  Conn. 

WiLBER    Emmert     -     -     -     -     Indiana    Pa. 

Hardy  R.  Finch     -    -    Greenwich,  Conn. 

Ann  Gale Chicago,   111. 

David  Goodman     -     -     New   York,   N.  Y. 

Josephine  Hoffman    -    -    -    Chicago,  111. 

L.  C.  Larson     -    -    -    Bloomington,  Ind. 

F.  Dean  McClusky    -    Scarborough,  N.  Y. 

Etta  Schneider    -    -    New  York,  N.  Y. 

Editorial  Advisory  Board 

Ward  C.  Bowen,  Chief,  Bureau  of  Radio 
and  Visual  Aids,  State  Education  De- 
partment,  Albany,   N.   Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools,  San  Diego, 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  E.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division,  Uni- 
versity of  Wisconsin,  Madison,  Wis. 

J.  A.  Hollinger,  formerly  Director,  Depart- 
ment of  Science  and  Visualization,  Pub- 
lic Schools,  Pittsburgh,  Pa. 

Boyd  B.  Rakestraw,  Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia,  Berkeley,  Calif. 

Paul  C.  Reed,  Head,  Educational  Division, 
Bureau  of  Motion  Pictures,  Office  of 
War  Information,  Washington,  D.  C. 

W.  Gayle  Starnes,  in  charge  of  Audio- 
Visual  Aids,  Department  of  University 
Extension,  University  of  Kentucky, 
Lexington,    Ky. 

Lelia  Trolinger,  Secretary,  Bureau  of 
Visual  Instruction,  Extension  Division, 
University  of  Colorado,  Boulder,  Cole. 

W.  W.  Whittinghill,  Director,  Depart- 
ment of  Visual  and  Radio  Education, 
Board  of  Education.  Detroit,  Mich. 


VOLUME  XXII 


JANUARY.  1943 


NUMBER    ONE 

WHOLE   NUMBER  208 


Contents 

Cover  Pichire — Officers  of  the  U.  S.  Naval  Reserve  at  Cornell 
University.  From  the  Office  of  War  Information  film  "Campus  on 
the  March." 


Texas  War  Film  Program John  W.  Gunstream  6 

The  Use  of  Visual  Aids  in  the  First  Grade Laura  Stilley  9 

Utilizing  the  School-Made  Public  Relations  Film  William  H.  Hartley  12 

Motion  Pictures — Not  for  Theatres Arthur  Edwin  Krows  14 

Edison  Tried  It,  Too William   L.  Jamison  17 

The  Department  of  Visual  Instruction  of  the  N.E.A 19 

The  Film  and  International 

Understanding Conducted  by  John  E.  Dugan  20 

School-Made  Motion  Pictures Conducted  by  Hardy  R.  Finch  22 

Experimental  Research  in  Audio-Visual 

Education Conducted  by  David  Goodman  27 

The  Literature  in  Visual  Instruction 

A  Monthly  Digest Conducted  by  Etta  Schneider  28 

News  and  Notes Conducted  by  Josephine  Hoffman  30 

Current  Film  News 32 

Among  the  Producers 35 

Here  They  Arel  A  Trade  Directory  for  the  Visual  Field 36 


SUBSCRIPTION  PRICE 

Domestic  $2.00 

Canada   $2.50 

Foreign $3.00 

Single  Copies 25 


The  EDUCATIONAL  SCREEN  published  monthly  except  July  and  August  by  The 
Educational  Screen,  Inc.     Publication  OfRce,  Pontiac,  Illinois;  Executive  Office,  M 
East  Lake  St.,  Chicago,  Illinois.     Entered  at  the  Post  Office  at  Pontiac,  Illinois,  as 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lake  St.,  Chicago,  III. 


Page  4 


The  Educational  Screen 


How  To  Get  The  Most 
Out  of  Your  Projector! 


Ampro  Service  will  put  it  in  first-class  condition 


The  Ampro  corporation 
maintains  complete  serv- 
ice departments,  manned 
by  men  who  are  experts 
in  reconditioning  and  re- 
building used  projectors. 
Users  report  that  Ampro 
maintenance  costs  are  ex- 
tremely lo"w.  You  w^ill  be 
-^  surprised  at  ho^^  much 
IsB',  can  be  done  at  reasonable 
rates  to  make  your  pro- 
jector as  good  as  new.  A  routine  checkup  of 
your  projector  w^ill  insure  long  and  satis- 
factory performance,  so  visit  your  nearest 
Ampro  dealer  today  for  projector  inspection, 
cleaning,  and  adjustment. 

Remember  —  now^,  more  than  ever,  effi- 
ciently operating  projectors  are  urgently 
needed  for  industrial  training  classes,  voca- 
tional   schools,    civilian   defense    work    and 


service  groups! 

Every  Ampro  projector  that  is  serviced 
and  put  back  into  first  class  condition  relieves 
just  that  much  of  the  load  of  producing 
new^  machines  for  the  w^ar  effort. 

For  industrial  training  classes,  civilian  de- 
fense meetings,  conservation  meetings,  for 
vocational  schools,  church  clubs,  fraternal 
organizations  and  service  groups — you  can 
swing  your  projector  into  "front  line"  serv- 
ice for  the  duration — and  heln  in  an  import- 
ant phase  of  America's  w^ar  effort. 

Write  for  name  of  local  Ampro  Dealer. 


AMPRO 


Precision 

Cine 
Equipment 


AMPRO   CORPORATION — 2839  N.   Western  Ave.,  Chicag* 


January,   1945 


Page   5 


?t 


T 


arget  for  Tonight 


)) 


In  the  "Ready  Rooms"  of  aircraft 
carriers,  in  flight  quarters  at  aviation 
land  bases,  in  classrooms  for  main- 
tenance instruction  courses,  projection 
instruments  are  performing  vital  serv- 
ices in  the  war  of  today. 

Of  the  various  types  of  Spencer  pro- 
jectors suitable  for  these  tasks,  the 
VA  Delineascope  has  been  especially 
useful  since  it  is  capable  of  projecting 
slides    or    opaque    material,    such    as 


photographs,  charts,   maps  or  draw- 
ings. 

♦        »        ♦ 

Optical  insrnimcitrs  arc  so  vital  to  war,  production 
for  war  and  public  health  that  the  nation's  cmtrffncj 
needs  absorb  practically  all  oj  Spencer's  greatly  in- 
creased production . 


Sp 


dlCCr  LENS  COMPANY 
BUFFALO,  NEW  YORK 

SCIENTIFIC    INSTRUMENT    DIVISION   OF 

AMERICAN   OPTICAL   COMPANY 


Page   6 


The  Educational  Screen 


Texas  War  Film  Program 


A  comprehensive  account  of  cm 
achievement  unique  to  date — the 
organization  of  an  entire  state 
for  most  effective  use  of  war  films. 


JOHN    W.    GUNSTREAM 

Director  of  Radio  and  Visual  Education 
and  State  War  Film  Coordinator 
State  Department  of  Education, 
Austin,  Texas 


From  "Henry  Browne,  Farmer,"  a 

U.    S.    Department    of    Agriculture 

production     distributed     by     the 

Office  of  War  Information. 


IN  a  war  which  is  total  or  nothing  for  America,  every 
weapon  that  can  honorably  help  speed  the  day  of 
complete  victory  must  be  seized  upon  and  used — 
intelligently  and  effectively.    There  is  no  exception. 

To  win  this  war,  America  must  have  more  than  the 
best  fighting  men  and  equipment  at  the  proper  place, 
in  the  proper  amount,  at  the  proper  time ;  she  must 
likewise  have  an  informed  people,  fully  aware  of  the 
grave  problems  which  confront  the  nation,  and  trained 
and  ready  to  do  whatever  must  be  done.  There  can  be 
no  other  formula  for  success.  Wars  are  not  won  by 
military  weapons  alone ;  the  seeds  of  victory  must  first 
be  planted  in  the  human  mind. 

Of  all  the  educational  weapons  mobilized  for  wartime 
service,  none  has  proved  more  versatile  and  effective 
than  motion  pictures.  Excellent  for  use  in  training  for 
developing  skills,  valuable  in  building  confidence  in  our 
cause  and  repugnance  to  the  Fascist  ideal,  unexcelled  in 
conveying  information — information  about  battles,  war 
production,  the  issues  of  the  war,  the  needs  of  our 
armed  services,  et  cetera — motion  pictures  are  playing 
an  important  dual  role  in  the  great  drama  of  our  times. 
They  are  helping  mightily  to  train  our  armed  forces  and 
millions  of  war  workers ;  at  the  same  time,  they  are 
planting  the  seeds  of  victory  in  the  minds  of  the 
American  people. 

One  of  the  most  significant  developments  in  the 
field  of  wartime  motion  pictures  is  the  broad  and  effec- 
tive utilization  of  the  16mm  motion  picture  by  the 
government  to  tell  the  story  of  America  at  War  to  the 
non-theatrical  audience.  Our  National  Government 
is  now  seriously  engaged  in  an  effort  to  produce  and 
distribute  motion  pictures  that  will  help  win  the  war 


and  build  a  durable  peace.  Moreover,  it  is  mobilizing 
in  the  effort  all  available  16mm  projection  equipment 
and  distribution  facilities,  educational  and  otherwise. 
Notable  success  has  already  been  achieved  by  such 
government  agencies  as  the  Office  of  War  Information 
and  the  Ofiiice  of  Inter- American  Affairs.  These  agencies 
are  now  using  the  16mm  motion  picture  increasingly  to 
bring  pertinent  and  concrete  information  to  the  people 
in  every  section  of  the  country.  Thus  the  motion  picture 
is  now  becoming,  as  never  before,  a  great  instrument 
for  democratic  education — education  which  is  destined 
to  reach  into  every  home,  rich  and  poor,  farm  and  city, 
with  a  message  that  is  easily  understood  and  long 
remembered. 

The  Texas  War  Film  Program,  initiated  on  Novem- 
ber 2  by  the  State  Department  of  Education,  is  a  direct 
outgrowth  of. the  government's  inchoate  policy  of  using 
the  16mm  motion  picture  for  mass  informational  and 
educational,  purposes.  Various  government  departments 
had  established  quite  successful  distribution  channels 
through  existing  film  libraries  and  agencies  in  the  sev- 
eral states,  but  no  attempt  had  been  made  prior  to  the 
beginning  of  the  Texas  Program  to  .set  up  an  intensive, 
state-wide  plan  for  the  distribution  of  government  films 
to  all  the  people.  With  more  than  one  thousand  school- 
owned  16mm  sound  projectors,  revealed  by  an  official 
registration  of  all  such  equipment,  and  with  a  basic 
distribution  organization  already  provided  by  twenty- 
four  supervisory  districts  of  the  State  Department  of 
Education,  Texas  seemed  to  offer  a  suitable  proving 
ground  for  an  all-out  state  war  film  program. 

At  the  request  of  State  Superintendent  L.  A.  Woods, 
a  Texas  war  film  plan  was  designed  and  presented  to 


January,  1945 


Page  7 


the  Office  of  War  Information  and  the  Office  of  the 
Coordinator  of  Inter-American  Affairs.  The  plan  in- 
volved the  cooperation  of  the  OWI,  CIAA,  all  existing 
Texas  film  libraries,  the  Governor's  office  and  leading 
adult  organizations.  It  provided  for  effective  state-wide 
utilization  of  the  best  16mm  non-theatrical  films  from 
these  and  other  government  departments,  tlirough  the 
cooperative  service  of  all  school-owned  and  other  16mm 
sound  projectors.  The  final  pattern  for  the  Texas  War 
Film  Program  was  effectuated  through  the  intelligent 
and  practical  cooperation  of  Mr.  R.  C.  Maroney,  Assist- 
ant Director  of  Distribution,  Motion  Picture  Division, 
The  Office  of  the  Coordinator  of  Inter-American  Af- 
fairs, of  Mr.  Paul  Reed,  Head,  Educational  Division. 
Bureau  of  Motion  Pictures,  Office  of  War  Information, 
and  of  Mr.  C.  R.  Reagan,  Educational  Field  Adviser, 
Bureau  of  Motion  Pictures,  Office  of  War  Information. 

What  does  the  Texas  War  Film  Program  seek  to  do? 
The  purpose  of  the  program  is  to  present  to  approxi- 
mately one  thousand  Texas  schools  and  to  adult  groups 
throughout  the  state,  for  a  limited  period,  the  finest 
government  war  films  in  order  to  help  develop  a  better 
understanding  of  the  issues  and  progress  of  the  War 
as  well  as  the  responsibilities  which  the  individual  citizen 
must  assume  in  the  winning  of  the  Victory. 

What  type  of  film  programs  are  being  presented?  The 
films  used  in  the  Texas  Program  were  selected  by  a 
committee  of  Texas  educators  and  lay  men.  The  films 
were  chosen  in  terms  of  one  basic  criterion — suitability 
for  use  with  non-theatrical  audiences,  both  scholastic 
and  adult,  to  inform  them  about  the  war  effort  and  the 
ways  in  which  they  can  aid  the  cause  of  victory.  All 
films  that  do  not  meet  this  criterion  will  be  eliminated. 
The  films  selected  for  the  Texas  War  Film  Program 
represent  the  best  distributed  by  Office  of  War  Infor- 
mation, Office  of  Inter-American  Affairs,  Office  of 
Civilian  Defense,  and  British,  Australian,  and  Canadian 
Governments.  All  of  these  agencies  distribute  films 
dealing  directly  with  the  war  effort  except  the  Office 
of  Inter-American  Affairs,  which  distributes  films  pre- 
senting the  Latin-American  countries,  designed  to  build 
better  understanding  between  the  Americas.     The  film 


subjects  were  combined  into  twenty  program  units, 
ranging  from  twenty  to  forty  minutes  in  length.  These 
units  were  scheduled  intact  for  school  and  adult  utili- 
zation. New  releases  will  be  acquired  from  time  to 
time  and  used  to  lengthen  short  programs,  to  strengthen 
weak  programs  by  replacing  unsatisfactory  films,  and 
to  create  new  programs  to  supplement  the  existing 
schedule. 

What  is  the  nature  of  the  organization  of  the  Texas 
War  Film  Program  and  hozv  does  it  operate?  A  State 
War  Film  Coordinator  was  appointed  by  the  State 
Superintendent  of  Schools  to  set  up  and  administer 
the  entire  program.  Under  his  direction,  the  state  or- 
ganization, which  involved  the  division  of  the  state  into 
distribution  districts,  the  establishment  of  district  li- 
brary centers,  the  appointment  of  district  and  local 
coordinators,  and  the  alignment  of  adult  groups,  was 
fashioned  and  initiated. 

Texas  is  divided  into  twenty  War  Film  Distribution 
Districts,  corresponding,  in  the  main,  with  the  Deputy 
Supervisory  Districts  of  the  State  Department  of  Edu- 
cation. In  charge  of  each  district  is  a  District  War 
Film  Coordinator.  One  or  more  prints  of  each  film 
program  are  deposited  with  him ;  he  is  given  a  list 
of  all  schools,  organizations,  and  individuals  that  own 
16mm  projectors.  It  is  the  duty  of  the  District  War 
Film  Coordinator  to  schedule,  with  the  aid  of  the 
Deputy  State  Superintendent,  the  film  programs  to  the 
schools  and  adult  groups,  to  ship  the  programs  in  ac- 
cordance with  the  schedule,  and  to  service  the  films 
periodically.  The  distribution  schedule  is  intra-district 
for  the  entire  period  and  no  fixed  pattern  is  followed, 
although  certain  basic  requirements  must  be  met.  Prac- 
tically all  District  War  Film  Coordinators  were  re- 
Tuited  from  existing  film  libraries. 

In  each  community  that  has  a  16  mm  sound  pro- 
jector, there  is  a  Local  War  Film  Coordinator.  He 
receives  the  film  programs  from  the  District  War  Film 
Coordinator  in  accordance  with  the  established  sched- 
ule. It  is  his  duty  to  arrange  for  the  maximum  number 
of  school  showings  and  to  make  the  programs  available 


GoSfee  cultivation 
on  a  Brazil  planta- 
tion —  from  a  film 
released  by  the  Co- 
ordinator of  Inter- 
American  Affairs. 


(Photo  courtesy   of 
Jnlien   Bryan) 


Page   8 


A  scene  from  "Battle  for  Oil",  one  of  The  World  in  Action 
series,  released  by  National  Film  Board  of  Canada. 

to  adult  groups  by  providing,  if  necessary,  both  pro- 
jectors and  operators  for  local  meetings.  The  primary 
objective  of  the  Local  War  Film  Coordinator  is  to  get 
the  greatest  number  of  showings  before  the  greate,st 
number  of  people,  under  the  most  effective  and  satis- 
factory conditions. 

The  Local  Coordinator  must  make  regular  reports 
on  all  showings  to  the  Office  of  Inter- American  Affairs 
on  self-addressed,  franked  cards  furnished  him  for  this 
purpose.  He  must  make  a  similar  report  to  the  District 
Coordinator.  These  reports  record  the  size  and  char- 
acter of  the  audience  as  well  as  the  critical  comments 
of  the  users.  Thus  they  provide  useful  data  and  will 
give  important  guidance  to  the  development  of  the  w  hole 
Texas  Program. 

Ho'w  arc  the  war  film  programs  utilized^  Tlie  films 
are  primarily  information!  in  nature.  They  are  not 
classroom  films  in  the  strictest  sense,  although  some 
subjects  correlate  readily  with  classroom  instruction. 
Curricular  correlation,  however,  is  not  stressed  in  the 
Texas  Program.  The  films  have  their  greatest  value 
in  the  secondary  schools.  Some  films,  notably  the  Inter- 
American,  are  suitable  for  u]>per  elementary  school 
utilization.  The  Texas  schools  are  encouraged  to  show 
the  films  in  auditorium  programs  and  specially  planned 
extra-school  meetings,  in  which  they  provide  the  basic 
information  for  forum  discussions  or  later  discussions 
in  classrooms.  But  the  final  decision  is  left  with  the 
school  authorities  themselves ;  no  effort  has  been  or 
will  be  made  to  force  something  "down  their  throats." 

The  Texas  schools  have  the  re.sponsibilitv  for  de- 
veloping community-wide  use  of  the  war  films.  Adult 
utilization  is  given  great  emphasis.  Grown-ups  need 
and  want  authentic  war  information.  The  schools  are 
satisfying  this  need  by  planning  special  film  forum  dis- 
cussions in  the  schools  for  community  attendance,  and 
by  providing  films,  projectors,  and  operators  for  adult 
meetings  outside  the  schools.  Many  adult  groups  have 
their  own  projectors  and  are  making  regular  use  of 
the  films. 

What  financial  provisions  arc  made  for  the  operation 


The  Educational  Screen 

of  the  'I  c.vas  ]Var  Film  Program?  None.  This  is 
]<urely  a  cooperative  undertaking.  The  government 
agencies  furnish  the  films  free  of  cost.  The  District 
and  Local  War  Film  Coordinators  donate  their  services 
and  library  facilities,  and  all  transportation  costs  are 
borne  by  the  participating  schools  and  adult  groups. 
The  State  Department  of  Education  provides  certain 
administrative  costs. 

II 01V  long  ivill  the  Texas  War  Film  Program  operate? 
It  is  now  .set  up  to  operate  for  a  period  of  twenty-three 
weeks,  including  holidays.  The  addition  of  new  film 
subjects  may  extend  the  program  for  the  remainder  of 
tlie  school  year. 

/'  hat  adult  organl::ation  and  groups  are  cooperating 
ivith  the  State  Department  in  the  sponsorship  of  the 
Texas  War  Film  Program F  .All  ini]K)rtant  adult  or- 
ganizations in  the  state  have  been  invited  to  cooperate 
in  this  program.  They  include  the  Governor's  office 
and  the  National  Defense  Committee  for  Texas,  Texas 
State  Teachers  Association,  Texas  Congress  of  Parents 
and  Teachers  Association,  Texas  Federation  of 
Women's  Clubs,  Texas  Junior  Chamber  of  Commerce, 
all  regional  Chambers  of  Commerce,  all  service  clubs, 
and  the  American  Legion. 

Comment.  It  is  obviously  too  early  to  attempt  to 
evaluate  the  Texas  War  Film  Program.  However,  cer- 
tain fact.s  now  available  .seem  to  be  important.  Thev 
possibly  indicate  future  developments  and  results. 

The  Texas  Program  must  of  necessity  be  a  co- 
operative undertaking.  As  such,  it  is  succeeding  re- 
markably well.  In  the  working  relationship  between 
the  Office  of  AVar  Information  and  the  Office  of  Inter- 
American  .\ffairs,  the  sponsoring  Federal  agencies,  and 
the  State  Department  of  Itducation.  a  .spirit  of  friendlv 
cooperation  has  prevailed.  This  may  be  said  also  of 
the  cooperating  film  libraries  and  adult  organizations. 
The  schools  themselves  are  going  "all-out"  in  an  effort 
to  do  what  is  expected  of  them.  Practically  every  .school 
in  the  state  that  has  a  16mni  sound  projector,  or  that 
can  get  one,  is  participating  in  the  War  Film  Program. 
Complete  figures  on  total  showings  and  attendance  for 
the  state  as  a  whole  are  not  available,  but  complete  re- 
ports from  several  districts  are  very  encouraging.  One 
distribution  district  reported  that  the  films  were  shown 
to  25,370  persons  during  the  first  two  weeks.  On  the 
basis  of  present  trends,  it  is  estimated  that  the  attend- 
ance for  the  state  will  average  about  100,000  persons 
per  week.  Most  of  these  will  be  students.  The  distribu- 
tion schedules  have  worked  surprisingly  well,  consider- 
ing the  many  difficulties  involved.  The  greatest  prob- 
lems yet  encountered  are  ( 1 )  getting  the  schools  to 
provide  for  adult  showings,  and  (2)  getting  the  Local 
Coordinators  to  make  reports  promptly  and  accurate!}'. 
Every  effort  is  being  made  to  solve  these  problems. 

The  Texas  War  Film  Program  is  providing  new 
knowledge  about  the  kinds  of  films  that  are  most  effec- 
tive, new  knowledge  of  the  best  ways  to  distribute 
films,  and  new  knowledge  of  best  methods  of  using 
films.  Moreover,  it  is  giving  new  impetus  to  visual 
education  in  the  schools,  and  new  force  to  the  use  of 
films  in  community  life.  But  more  important  just  now, 
the  Texas  W^ar  Film  Program  is  presenting  to  the 
school  children,  and  to  many  adults,  a  true  picture  of 
the  war  and  of  the  tremendous  issues  involved. 


January,   194} 


Page   9 


The  Use  of  Visual  Aids 
in  the  First  Grade 


MANY  teacliers  liave  been  using  different  types  of 
visvial  aids  in  their  classrooms  for  years.  Dif- 
ferent teachers  have  their  own  methods  of  using 
sucli  aids.  In  this  article,  I  have  attempted  to  tell  how  I 
utilize  visual  aids  in  my  first  grade  room  at  the  Elemen- 
tary School  of  the  Louisiana  State  Normal  College. 

One  of  the  most  effective  visual  aids, 
and  one  which  is  easily  accessible  to 
all  teachers,  is  the  school  journey.  The 
.school  journey,  if  properly  planned,  is 
a  means  by  which  objects  and  materials 
in  their  natural  settings  are  made  avail- 
able to  the  children. 

M}'  first  grade  group  went  for  a 
walk  one  afternoon  to  collect  colorful 
leaves  for  use  in  decorating  the  room. 
Interest  in  leaves  had  been  aroused 
by  observation  of  .some  leaves  which 
one  little  girl  had  brought  to  school 
that  morning.  The  children  had  no- 
ticed how  the  leaves  had  changed  color 
over  the  week-end  and  they  were  inter- 
ested in  collecting  the  more  colorful 
leaves  which  were  then  available.  As 
we  walked  through  the  woods  we 
talked  about  the  changes  of  color  of 
the  leaves  and  discussed  the  reasons 
for  the  change.  One  little  boy  who  had 
gone  some  distance  ahead  of  the  grouj) 
found  a  huckleberry  bush.  He  called 
the  group  to  him,  saying,  "Look  what 
I  have  found." 

The  bush  had  large  ripe  huckle- 
berries on  it.  Johnnie,  who  had  found 
the  bush,  suggested  that  we  give  the 
berries  to  O.scar.  a  pet  baby  opossum 
that  one  of  the  boys  brought  to  school 
on  the  second  day.  Johnnie  said  that 
he  would  return  to  the  room  for  a  cup 
in  which  to  put  the  berries.  While  he 
was  gone,  the  other  children  picked 
the  berries,  all  the  while  discussing 
whether  or  not  Oscar  would  eat  them. 
Mildred  collected  some  leaves  which 
were  very  colorful  and  which  were 
shaped  differently  from  others  the 
children   had   collected. 

When  Johnnie  returned,  we  put  the 
berries  in  the  cup  and  started  back 
to  the  room.  We  had  gone  only  a  little 
distance  when  Lodo  suggested  that  she 
would  go  on  and  get  Oscar  so  that  we 
might  feed  him  before  returning  to  the 
room.  The  children  sat  down  on  the 
ground  and  waited  for  Lodo  to  return 


Activities  of  first-graders  in  a  classroom 
where  visual  aids  are  used  naturally, 
constantly,  and  with  maximum  effectiveness. 

LAURA    STILLEY 

Louisiana  State  Normal  College,  Natchitoches 


Making  and  arranging  materials  for  the  collection  cabinet 


Children  enjoying  the  doll  house  they  constructed. 


Page    10 


The  Educational  Screen 


with  Oscar.  They  were  very 
quiet  as  she  returned  and  put 
him  down  on  the  ground  near 
the  cup  of  berries.  Oscar  had 
never  seen  any  berries  before. 
He  smelled  the  ground  around 
the  cup.  When  his  little  sharp 
nose  finally  came  to  the  cup 
with  the  berries  in  it,  he  im- 
mediately began  eating  them. 
He  took  some  berries  in  his 
mouth,  held  his  head  high  and 
back,  and  chewed  very  fast. 
The  children  were  delighted 
over  the  discovery  that  Oscar 
liked  huckleberries. 

After  watching  Oscar  and 
his  cup  of  berries  a  short  time, 
we  returned  to  the  room  and 
put  the  remaining  berries  in 
Oscar's  cage.  Betty  Jean 
looked  at  Oscar  and  said,  "We 
could  sure  write  a  good  story  about  this." 

I  asked,  "What  could  we  write?" 

Before  anyone  could  say  another  word,  Patsy  Ann 
spoke  up,  "We  will  have  to  name  the  story  'A  Good 
Walk.'  "  The  children  agreed  on  this  title  for  the  story. 
Three  sentences  were  finally  selected  by  the  group  and 
written  on  the  board. 

A  Good  Walk 

Look  at  Oscar.  He  is  eating  huckleberries.  We 
found  them  for  him. 

After  the  story  was  written  on  the  board,  Thomas 
said,  "We  have  three  lines  on  the  board."  I  remarked, 
"Yes,  they  are  called  sentences." 

Another  child  said,  "One,  two,  three.  We  have  three 
sentences  on  the  board."  I  then  asked  if  anyone  could 
write  the  number  of  sentences  on  the  board.  Four  chil- 
dren went  to  the  board  and  wrote  "3." 

Charles  said,  "I  can  write  a  number  for  each  sen- 
tence." He  went  to  the  board  and  wrote  "1,  2,  3." 
Wayne  said  that  he  could  draw  a  picture  under  the 
story.  He  went  to  the  board  and  under  the  story 
he  drew  a  circle.  He  then  added  ears  and  a  tail 
to  make  it  represent  Oscar.  He  also  drew  a  bush  with 
many  dots  on  it.  Johnnie  wanted  to  help  with  the 
picture  so  he  went  to  the  board  and  drew  a  cup  with  a 
very  large  handle. 

Later  I  typed  the  story  on  a  plain  piece  of  paper  for 
use  in  the  opaque  projector.  Since  that  time  we  have 
used  the  story  along  with  others  which  we  have  pre- 
pared for  use  with  the  machine.  The  story  was  also 
printed  on  a  large  piece  of  cardboard  and  placed  with 
the  other  charts. 

Now  that  the  children  were  through  with  the  story 
of  Oscar  and  the  huckleberries,  they  were  ready  to  talk 
about  the  leaves  which  had  been  placed  on  the  table 
when  they  returned  to  the  room.  They  noticed  the 
difference  in  color,  shape,  and  size  of  the  leaves.  From 
the  science  reader  I  read  some  stories  about  leaves  and 
the  effects  of  weather  on  them.  Some  of  the  leaves 
were  used  to  decorate  the  room  while  others  were  placed 
in  the  collection  cabinet. 


The  stereoscope  aids  picture  study. 

The  collection  cabinet  has  furnished  much  interest 
for  the  children.  Our  cabinet  has  four  shelves.  One 
shelf,  they  call  the  whatnot  shelf.  On  this  they  have  a 
ship,  small  dogs,  a  miniature  soldier,  two  elephants,  a 
lion,  a  lamb,  three  horses,  a  cow,  four  dolls,  a  gold 
pitcher,  two  vases,  and  two  birds.  On  another  shelf 
they  have  assembled  their  clay  models.  Some  of  these 
are  painted,  while  others  are  left  as  they  were  when 
modeled.  On  a  third  shelf  is  the  collection  of  rocks, 
shells,  petrified  wood,  Indian  arrowheads,  alligator 
tusks,  and  Indian  beads.  The  fourth  shelf  contains 
Spanish  moss,  pine  burs,  sweetgum  balls,  feathers, 
leaves,  and  bark  from  trees.  On  top  of  the  cabinet  stands 
a  big  bronze  bear  with  skis  and  a  pack  on  his  back. 

The  items  on  each  shelf  brought  about  much  discus- 
sion. Stories  were  written  and  rhymes  were  made. 
Care  was  taken  by  the  children  to  choose  the  best  clay 
models  for  the  cabinet.  Likewise,  the  most  interesting 
rocks,  the  most  colorful  leaves,  and  leaves  from  a 
variety  of  trees,  were  selected  for  display  on  the  shelf. 
The  following  are  samples  of  stories  composed  by  the 
children : 

The  Collection  Cabinet 

Look  at  our  cabinet. 

James  brought  some  rocks  and  shells  for  the  cabinet. 

Carrol  Jean  brought  a  dog  and  a  gold  cup. 

We  are  all  going  to  bring  something  for  the  cabinet. 

Things  for  the  Cabinet 

Pick  up  leaves,  pick  up  leaves. 

We  have  pretty  leaves  for  the  cabinet. 

Some  are  red,  some  are  yellow,  and  some  are  brown. 

The  leaves  came  from  oak,  sweetgum,  pecan,  China- 
berry,  huckleberry,  blackgum,  and  holly  trees.  The 
pine  needles  came  from  the  long  leaf  and  the  short 
leaf  pines. 

Perhaps  the  most  readily  available  of  all  visual  aids 
are  small  pictures.  Valuable  illustrative  material  can  be 
found  in  advertising  columns  of  magazines,  newspapers. 


January,  1943 

old  books,  travel  folders,  and  catalogs.  We  have  a  large 
wooden  box  in  which  the  children  keep  this  material. 
They  go  to  the  box  and  get  material  for  use  whenever 
they  need  it.  There  is  nothing  they  enjoy  more  than 
looking  through  this  material,  selecting,  and  cutting 
pictures  for  use  in  their  picture  books.  Most  of  the 
children  are  making  these  books.  Some  can  group  the 
pictures  on  the  page.  Some  can  write  a  word  or  words 
under  the  picture ;  as,  Fruit  to  Eat,  Things  I  Like,  Toys, 
Flowers,  Houses,  Airplanes.  Others  paste  the  pictures 
on  the  page,  paying  little  attention  to  the  grouping. 

My  pictures  are  classified  and  put  in  folders  where 
they  are  readily  accessible.  Some  are  mounted  and  dis- 
played before  the  class.  The  children  are  permitted  to 
suggest  the  words  or  sentences  suitable  to  place  under 
the  pictures ;  as,  Sit  up  for  your  dinner.  Spot,  and  The 
children  are  swinging.  Those  pictures  with  words  or 
sentences  printed  under  them  are  placed  on  the  bulletin 
board,  or  in  some  other  conspicuous  place  in  the  room 
where  the  children  can  have  access  to  them  when  they 
are  needed. 

In  the  fall  many  of  the  little  girls  brought  their  dolls 
to  school.  After  placing  them  around  the  room  for 
several  days,  they  decided  to  build  a  doll  house.  The 
doll  house  is  a  big  room  about  five  feet  by  eight  and 
approximately  six  feet  high.  It  is  made  of  plyboard. 
The  children  decided  to  paint  the  house  white  and  trim 
it  in  bright  blue.  The  roof  is  painted  bright  blue  to 
match  the  trimming,  and  it  is  blocked  off  in  squares 
with  crayolas  to  represent  shingles.  The  children  made 
the  furniture  for  the  house.  It  consists  of  a  doll  bed, 
two  doll  chairs,  two  tables,  and  a  kitchen  cabinet  in 
which  to  keep  their  dishes.  For  their  use  they  made 
two  chairs  out  of  apple  crates  and  a  settee  from  the 
same  material  to  accommodate  two  children. 

Pictures  for  the  house  were  either  brought  by  the 
children  or  they  were  drawn  by  them.  To  frame  the 
pictures,  they  pasted  each  one  on  a  large  sheet  of  draw- 
ing paper.  Strips  of  construction  paper  were  cut  and 
pasted  around  the  pictures.  Each  frame  was  painted 
a  color  chosen  by  the  child  who  painted  it.  Two  frames 
were  yellow,  two  were  brown,  one  was  blue,  and  one 
was  pink.  A  rug  was  made  of  brightly  flowered  cloth 
which  was  braided  by  the  children  and  sewed  in  a  circle. 
A  set  of  cups  and  saucers  was  made  of  clay.  The 
cups  varied  in  shape,  size,  and  color,  according  to  the 
likes,  dislikes  and  differences  in  ability  of  the  children 
who  modeled  and  painted  them. 

The  children  enjoy  dramatizing  stories  which  they 
have  learned.  They  also  make  their  own  stories  and 
dramatize  them.  They  plan  and  make  their  costumes. 
Often  they  bring  long  dresses,  hats  and  shoes  from 
home  to  use  as  costumes  for  the  play.  The  costumes 
made  this  year  consist  of  a  suit  for  Little  Red  Riding 
Hood,  a  wolf's  head,  a  hat  for  Jack  in  the  story  Jack 
and  the  Beanstalk,  and  three  fairy  costumes  made  of 
white  crepe  paper.  The  children  have  cabinets  in  which 
they  keep  their  costumes  when  they  are  not  in  use. 
They  draw  scenery  for  use  in  plays  and  paint  it  accord- 
ing to  their  own  plans.  First,  the  children  and  I  draw 
the  outlines  on  the  blackboard.  Later,  some  of  the 
children  outline  it  on  a  piece  of  newsprint.  With  a  piece 
of  chalk  the  scene  is  transferred  to  a  piece  of  beaver- 
board  about  five  by  seven  feet.   The  group  who  made 


Page  11 


the  original  design  places  it  on  the  beaverboard.  How- 
ever, if  there  is  someone  in  the  room  who  can  draw  a 
particular  thing  well,  such  as  a  rabbit  or  other  animal, 
he  is  asked  to  help.  The  actual  painting  is  done  by 
about  one-fourth  of  the  children.  The  scenes  are  kept 
behind  the  doll  house.  When  a  certain  type  of  scenery 
is  needed,  the  children  get  it  and  place  it  against  the 
wall  to  serve  as  a  background  for  the  stage. 

There  are  a  number  of  stereoscopes  in  the  school  li- 
brary. These  are  often  borrowed  for  the  class  to  use. 
An  effort  is  made  to  keep  one  or  two  stereoscopes  on 
the  reading  table  at  all  times.  We  have  many  pictures 
of  birds  and  animals.  One  day  a  group  of  children 
was  seated  at  a  table  looking  at  a  bird  picture.  Salita 
Sue  said,  "This  picture  looks  just  like  a  bird  that  comes 
to  our  bird  bath." 

Johnnie,  who  was  standing  behind  her  chair,  said, 
"Let  me  see." 

She  handed  him  the  stereoscope  and  he  looked  at  the 
picture  about  a  minute.  He  handed  it  back  to  her, 
saying,  "You  haven't  seen  him  there  lately.  It's  too 
cold  for  him  here  now."  And  with  a  little  laugh,  he 
said,  "That's  just  a  red  bird." 

Salita  Sue  said,  "Oh,  but  it  isn't.    I  know  it  isn't." 

Johnnie  answered,  "But  I  know  it  is." 

She  said,  "I  know  it  is  not  a  red  bird  because  the 
name  of  this  bird  starts  with  a  C  and  the  name  of  a  red 
bird  starts  with  an  R. 

Johnnie  picked  up  the  stereoscope  again  and  looked 
at  the  picture.  He  then  laid  it  back  on  the  table.  Not 
knowing  the  alphabet  very  well,  he  said,  "I  can't  help 
what  the  name  is,  it's  a  red  bird." 

I  overheard  the  conversation  and  walked  back  to  the 
table  and  sat  down,  asking  to  see  the  picture.  I  ex- 
plained to  them  that  the  real  name  of  the  bird  is  Cardi- 
nal, but  that  he  is  often  called  a  Red  Bird.  I  told  them 
that  the  name  under  the  picture  was  Cardinal. 

Johnnie  laughed  and  said,  "I  sure  didn't  know  that." 

The  use  of  visual  aids  in  the  first  grade  does  not  re- 
quire the  expenditure  of  large  sums  of  money  for 
materials.  However,  it  does  require  careful  planning 
on  the  part  of  the  teacher  and  public.  Without  careful 
planning  and  preparation  the  times  spent  on  visual  aid 
might  be  a  total  loss.  The  visual  material  should  grow 
out  of  the  everyday  life  and  experiences  of  the  children 
and  should  be  kept  within  the  reach  of  their  under- 
standing. Probably  the  greatest  value  received  from 
these  aids  comes  from  the  integration  of  this  material 
in  all  the  school  activities.  The  visual  material  is  the 
background  for  much  of  the  language,  reading,  writing, 
spelling,  and  number  work.  No  attempt  is  made  to 
separate  visual  aids  from  other  work  in  classroom 
activities.  These  aids  are  used  naturally,  freely,  and 
without  artificiality. 

A  List  of  U.  S.  War  Information  Films — Office  of  War  In- 
formation, Bureau  of  Motion  Pictures,  Washington,  D.  C. 
November,  1942. 

This  listing  replaces  all  previous  ones.  It  can  be  dis- 
tinguished by  its  brown  stiff  cover.  Government  film  pro- 
duction proceeds  so  rapidly  that  new  listings  are  needed 
very  often.  This  Hsting  contains  titles  that  are  still  avail- 
able only  in  theaters.  However,  we  should  have  all  the 
information  for  future  program  planning.  Local  distribu- 
tors have  been  included  for  each  government  division. 


Page    12 


The  Educational  Screen 


Left:  Some  of  the  cast  from  the  I.E.A.  film,  "Backing  Up  the   Guns."    Right:  Students  working  out  a  problem  in  schoolmade 
film  on  the    Long  Beach    (Calif.)    Water   Department. 


Aa    Bb    Cc  Dd    Ee    Ff  G 


Utilizing  the  School-Made  Public 
Relations  Film 


So  YOU  have  made  a  school  film !  Now,  What  are 
you  going  to  do  with  it?  This  question  is  facing 
an  ever-growing  number  of  teachers  who  en- 
thusiastically entered  into  the  field  of  motion  picture 
production  because  (a)  they  had  a  movie  camera,  or 
knew  where  to  borrow  one,  (b)  they  heard  that  another 
school  had  made  a  film,  and  they  wanted  to  keep  up 
with  the  Joneses,  (c)  the  students  liked  the  idea,  (d) 
the  possibility  of  "learning  by  doing"  made  the  school 
film  appeal  to  teachers,  students  and  administrators  as 
a  worth-while  project,  and  (e),  most  important  of  all, 
a  method  of  financing  the  film  was  worked  out.  This 
matter  of  financing  the  film  may  lead  to  some  embar- 
rassment when  the  question  arises  as  to  what  is  to  be 
done  with  the  film  now  that  it  is  in  finished  form.  If 
the  sponsor  of  the  film  was  able  to  wangle  $40.00  to 
$150.00  from  the  board  of  education  for  a  one-reel 
(400  foot)  16  mm.  silent  film,  then  tlie  board  has  a 
right  to  know,  and  in  all  probability  will  insist  upon 
knowing,  what  is  going  to  be  done  with  this  school- 
made  masterpiece.  If  sound  was  added  to  the  film,  the 
production  costs  rose  to  $125.00  or  $500.00.  If  color 
was  used  the  one-reel  silent  film  probably  cost  from 
$70.00  to  $175.00,  and  if  sound  was  added  to  the  color 
the  costs  were  probably  $200.00  to  $700.00.^  More  than 
ever  now,  with  rising  Federal  taxes  making  themselves 


Concrete  suggestions  to  schools  faced  with  the 
problem  of  what  to  do  with  a  school  iilm  after 
it  has  been  made — with  particular  emphasis  on 
its  role  in  selling  the  school  to  the  community. 

WILLIAM    H.     HARTLEY 

State  Teachers  College 
Towson,  Maryland 

felt,  will  the-powers-that-be  want  to  know  what  they  got 
for  their  money. 

The  use  which  is  to  be  made  of  the  school-made  public 
relations  film  will  depend  greatly  upon  the  type  of 
film  which  has  been  produced.  Too  often,  as  Hart 
points  out,  "the  newsreel  type  of  film  (usually  a  group 
of  school  highlights,  often  unrelated)  continues  to  con- 
.stitute  the  great  majority  of  films  produced  by  schools 
for  public  relations  purposes."^  This  type  of  film  may 
have  an  ad  hoc  value  to  those  whose  features  appear 
in  the  random  scenes,  but  we  can  generally  agree  with 
Elliott  that  "this  generalized  film  can  be  eflfective  only 
in  the  initial  stages  of  its  use.  When  the  novelty  wears 
off,  then  its  usefulness  is  virtually  gone,  and  real  work 
must  go  into  planning  a  production  that  holds  food 
for  thought."^ 

What  kind  of  a  film  should  be  used  for  public  rela- 
tions purposes?  The  most  obvious  answer  is  a  film 
which  presents  the  activities  of  a  school  in  some  logical 


1.  Brooker,  F.  E.,  and  Herrington.  E.  H.,  Students  Make 
Motion  Pictures.  Washington,  D.  C. :  American  Council 
on  Education,  1941.    P.  35. 


2.  Hart,    William    G.,    "The    Present    Situation    In    School - 

Made  Public  Relations  Films,"  Educational  Screen,  April, 
1940.     P.   152. 

3.  Elliott,    Godfrey,    ''The    Future    for    School-Made    Public 
Relations  Films,"  Educational  Screen,  April,  1940.     P.  153. 


January,   1943 


Page   13 


arrangement  and  explains  them  in  the  Hght  of  the 
philosophy  which  guides  the  school  program.  A  series 
of  scenes  showing  class  after  class  leaving  the  school 
building  may  be  of  interest  to  the  members  of  the  classes, 
their  parents  and  friends,  but  such  scenes  do  little  to 
sell  the  educational  value  of  the  school  program  to  the 
community.  A  cardinal  principle  in  school-made  public 
relations  films  should  be  that  the  scenes  show  action, 
and  the  action  should  be  significant.  Take  these  same 
children  who  paraded  before  the  camera,  smirking, 
waving  and  making  faces,  and  show  them  at  work  in 
the  laboratory,  in  the  library,  in  the  classroom,  and  the 
film  will  still  have  the  same  interest  for  those  who  like 
to  see  themselves  in  the  movies,  but  it  will  also  possess 
interest  for  those  who  want  to  know,  or  need  to  know 
what  children  are  doing  in  school. 

The  newsreel  is  not,  however,  the  only  type  of  public 
relations  film.  The  Denver  schools  found  that  motion 
pictures  which  are  "  the  work  of  the  school  in  showing 
the  community  at  work"  may  be  more  effective  in  public 
relations  than  motion  pictures  which  "show  the  school 
at  work"  with  unrelated  scenes  of  as  many  classes  as 
possible."*  Any  film  which  acquaints  the  public  with 
the  work,  interests,  and  efforts  of  the  public  school  is 
a  good  public  relations  film. 

A  great  deal  has  been  written  concerning  the  tech- 
niques of  producing  the  school  film  and  for  raising  funds 
to  carry  on  film  jiroduction  in  the  schools.  Far  too  little 
attention  has  been  given  to  the  utilization  of  these  films 


IM      |!i|iii#^ 

f 

^ 

Making  a  library  at  Rufus  King  High  School, 
Milwaukee,  Wis. 


after  they  have  been  produced.  Let  us  return  to  our 
original  question.  Now  that  you  have  produced  a 
school  film,  what  are  you  going  to  do  with  it?  Let  us 
summarize  some  of  the  practices  which  have  been  found 
useful  in  this  connection. 

L  As  a  Parent's  Night  Program.  The  first  and  most 
frequent  use  to  which  the  school  film  may  be  put  is  to 
present  it  to  tiie  student  body,  parents,  and  friends. 
This  in  itself  should  prove  of  interest  and  of  value,  but 
more  to  the  point  are  the  follow-up  activities  which  may 
be  employed.  Printed  matter  may  be  distributed  elabo- 
rating on  certain  points  touched  on  in  the  film.  Student 
reports,  exhibits,  and  discussions  may  be  held  in  con- 
junction with  this  showing.  Next,  steps  may  be  dis- 
cussed by  the  audience,  and  plans  made  for  an  expan- 
sion of  the  school  program  shown  in  the  film.  In  this 
connection,  there  is  a  tendency  in  most  school  films  to 
present  the  school  as  a  dwelling  place  of  perfection, 
whereas,  here  is  an  opportunity  to  present  needs,  hopes, 
and  future  plans,  as  well  as  to  point  to  accomplishments. 

2.  Taking  the  School  to  the  Parents.  It  is  notoriously 
difficult  to  get  bu.sy  parents  to  visit  our  schools  so  that 
they  may  better  understand  our  aims,  and  thus  co- 
operate in  our  endeavors.  Especially  is  it  true  that  the 
fathers  of  school  children  can  not  get  to  visit  their 
young  hopefuls  and  see  them  as  they  go  about  their 
school  activities.  The  next  best  thing  is  to  bring  the 
school  to  the  parent  in  the  form  of  a  short  school  film 
which  he  may  see  at  his  service  club,  at  noon-hour  show- 
ings at  industrial  plants,  at  the  Y.M.,  or  lodge.  Usually 
these  organizations  are  glad  to  get  such  a  program.  As 
to  whether  they  will  be  glad  to  ask  you  back  depends 
upon  the  quality  of  your  presentation.  Mothers  may 
be  reached  througli  women's  organizations,  and  they 
will  probably  be  at  the  parents-teachers  meeting  the 
night  the  film  is  shown  there. 

3.  For  Sentimental  Reminiscing.  Class  Days  and  re- 
unions are  always  times  in  which  the  school  film  fits 
perfectly. 

4.  As  A  Report  To  The  School  Board.  There  has 
been  a  tendency  in  recent  years  to  illustrate  the  school 
board  report  with  photographs.  Why  not  with  a  motion 
picture?  Hardy  Finch  reports  that  the  Greenwich, 
Connecticut  Board  of  Education  is  planning  such  a 
report.'  Whether  your  film  appears  as  a  formal  report 
or  not,  the  school  board  should  have  a  special  showing. 

5.  To  Sell  Visual  Aids  To  The  Community.  If  you 
want  to  convince  the  public  concerning  the  value  of 
visual  presentation,  show  them  a  well  made  film  pic- 
turing their  own  schools  in  action.  Wagner  reports  an 
Ohio  board  of  education  which  bought  visual  equipment 
mostly  as  a  result  of  seeing  school  made  films.® 

6.  For  Doubtful  Taxpayers.  If  your  taxpayers  are 
wondering  about  what  is  happening  to  the  money  they 
pay  in  school  taxes,  show  them  with  a  film.  An  Ohio 
community  presented  their  school  film  at  a  taxpayers' 
meeting  just  before  a  vote  was  taken  on  the  renewal  of 
a  3  mills  tax  for  operating,  and  the  tax  was  promptly 

{Concluded  on  page  26) 


Activity  of  Central   High   Photoplay  Club,   Newark,  N.  J. 


4.  Brooker,  and  Herrington,  Op.  Cit.  p.  16. 

5.  Finch,  Hardy,  R.,  "School-Made  Motion  Pictures,"     Edu- 
cational Screen,  June,  1941.     P.  256. 

6.  Wagner,  William,  S.,     "School-Made  Motion  Pictures  for 

Public    Relations   in    Ohio    (III),"     Educational    Screen, 
March,  1940.     P.   100. 


Page  14 


The  Educational  Screen 


MOTION  PICTURES- 
NOT  FOR  THEATRES 


Installment  43. — Many  and  various 
are  the  places  oi  non-theatrical 
exhibition,  nearly  every  one  with 
its     plentiful     sources     of     supply. 

By     ARTHUR     EDWIN    KROWS 


IN  1921,  the  U.  S.  Government  and 
educational  foundation  surveys  esti- 
mated that,  in  this  country  alone,  films 
were  being  presented  in  44,000  churches 
and  100,800  schools,  in  addition  to  the 
known  wide  uses  in  the  Y.M.C.A's,  K. 
of  C's,  women's  clubs  and  the  like. 
Although  these  figures  apparently  were 
compiled  with  reasonable  care,  they 
could  not  be  expected  to  be  accurate, 
for  they  were  made  up  chiefly  from 
customer  lists  of  projector  manufac- 
turers and  distributing  libraries.  There 
must  have  been  duplications,  and  there 
must  have  been  modifications  to  be 
made  in  the  projector  lists  because  of 
obsolescence  and  replacements.  But, 
in  all  events,  the  number  of  places  of 
non-theatrical  exhibition  as  given,  was 
vastly  more  than  the  number  of  regular 
film  theatres,  which  was  set  at  some- 
thing under  19,000.  Estimating  the 
potential  market  as  a  whole,  if  all  pos- 
sible places  of  non-theatrical  exhibition 
should  become  steady  users,  the  total 
figure  was  given  as  approximately 
600,000,  surely  including  home  pro- 
jectors. And  it  must  be  borne  in  mind, 
too,  that  in  these  later  years  more  than 
ever  before,  it  is  customary  to  con- 
struct all  fair-sized  schools,  municipal 
buildings,  factories  and  clubs  with 
auditoriums  suitable  for  shows.  Of 
course,  there  have  been  limited  investi- 
gations in  specialized  directions.  In 
1931  the  U.  S.  Department  of  Com- 
merce, for  instance,  was  reportedly  en- 
gaged in  a  survey  to  determine  the 
many  ways  in  which  films  were  being 
used  in  business. 

Skipping  another  ten  years  to  1941, 
the  Bureau  of  Foreign  and  Domestic 
Commerce  then  reported  a  school 
survey  showing  6,055  silent  16mm 
projectors  and  4,373  sound  in  elemen- 
tary institutions,  and  in  colleges  and 
high  schools,  6,037  silent  16's,  and 
6,374  sound  ones,  a  grand  total  of 
22,839.  The  questionnaires  were 
answered  by  17,500  colleges  and  high 
schools  and  25,703  elementary  schools. 
Equipment  was  variously  provided.  A 
fair  proportion  was  owned,  almost  as 
many  were  serviced  with  equipment 
from  central  sources,  and  a  very  large 
number  came  through  rental  and  bor- 
rowing. 

At  the  start  of  December  1942,  Zeh- 
rung's  Y.M.C.A.  Motion  Picture  Bu- 
reau offered  a  more  conservative  break- 
down of  non-theatrical  "outlets"  in  the 
United  States,  representing  its  own 
1941  coverage,  showing  907  colleges,  5,328 
high  schools,  4,192  grade  schools,  1,350 
churches,  993  clubs,  4,192  industries,  553 
Y.M.C.A. 's,  and  1,432  miscellaneous  other 
organizations,  making  a  grand  total  of 
15,856.  It  was  held  that  65'^%  of  these 
were  "educational,"  and  34'^%  "com- 
munity."    The   outlets   represented   were 


supposed  to  be  regular,  dependable  ones ; 
and  that  cautionary  remark  indicates  what 
has  become  of  many  of  the  thousands  more 
outlets  which  appeared  in  the  earlier 
estimates.  It  is  said  that  actually  the 
Y.M.C.A.  Bureau  is  obliged  to  refuse 
to  accept  approximately  nine  of  ten 
applications  for  films  on  grounds  of 
unfitness  to  show.  A  home  show  for 
two  or  three  unexceptional  persons  is 
scarcely  desirable  for  a  supplier  of 
"free"  films,  and  there  must  be  some 
line  drawn  when  the  show  is  to  be 
presented  on  a  toy  projector  or  in  cir- 
cumstances violating  fire  ordinances.  Fig- 
gures  given  are  all  for  talkie  shows. 

Is  the  non-theatrical  exhibitor  a  bona 
fide  risk?  Surveys  obviously  should  in- 
clude considerations  bearing  on  that. 
John  Haeseler  developed  a  splendid 
study  of  this  in  his  survey  of  the  edu- 
cational field  prior  to  establishment  of 
the  Harvard  Film  Foundation  in  1928. 
Among  other  interesting  conclusions 
at  which  he  arrived,  he  determined  that 
America  then  had  thirty  school  sys- 
tems which  spend  a  thousand  dollars 
or  more  apiece  annually  from  central 
funds  for  films,  slides,  and  photo- 
graphs, or  a  total  of  $289,333,  and 
that,  in  the  ninety  cities  of  over  100,000 
population  in  the  United  States,  each 
could  easily  maintain  a  library.  The 
annual  educational  expenditure  per 
pupil  in  1926,  he  observed,  had  ranged, 
in  the  twenty  largest  cities,  from  $71.60 
in  New  Orleans,  to  $120  in  Washing- 
ton, D.  C.  Chicago  had  the  largest 
visual  instruction  appropriation  of  all, 
$140,000,  spending  $10,000  to  $25,000 
per  year  for  film  purchases  alone.     A 


side  decision  he  made  was  that  the 
most  satisfactory  school  distribution 
was  the  central  library  owned  by  the 
school  system.  In  such  a  situation,  he 
thought,  costs  should  not  exceed  35 
cents  per  projection. 

Many  schools  which  purport  to  use 
films  are  not  prepared  to  exhibit  them 
in  individual  classrooms.  While  many 
have  16mm  portables,  often  owned  by 
the  science  or  physical  education  de- 
partment, and  these  may  be  loaned 
from  class  to  class,  a  still  common  ar- 
rangement is  to  have  a  projector  of  semi- 
professional  type  in  the  school  audi- 
torium. In  such  cases,  classes  remove 
there  for  their  visual  work.  This  pro- 
jector generally  is  to  be  used  also  for 
school  and  community  entertainment 
purposes,  so  it  frequently  takes  35mm 
film  only.  Where  the  requirements  are 
not  for  just  one  central  school  build- 
ing, but  cover  a  number  of  schools 
sufficient  to  maintain  a  motion  picture 
and  slide  department — a  "department 
of  visual  education" — portable  ma- 
chines may  be  available  for  class  use, 
brought  in  when  wanted.  The  vast 
majority  of  school  projectors  the  coun- 
try over  are  16mm,  the  size  which  will 
unquestionably  remain  the  standard 
for  school  use.  As  class  showings  are 
mainly  in  daylight  hours,  a  side  prob- 
lem is  darkening  the  room  for  proper 
projection,  although  complete  darkness 
is  undesirable  on  grounds  of  safety  and 
discipline.  The  use  of  so-called  "day- 
light" screens,  with  projection  from 
the  rear  is  admirable  in  many  ways,  but 
it  has  not  yet  fully  met  the  objections 
for  large  audiences. 


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Called  the  first  railroad  motion  picture  theatre — installed  for  Red  Train 
Limited  pullman  passengers  between  Chicago  and  St.  Louis. 


January,  1943 


Page   15 


In  churches,  comparatively  few  of 
the  older  structures  are  equipped  with 
projection  booths,  although,  even  where 
the  architect  has  provided  a  booth  in 
any  more  recent  structure,  the  pro- 
jector is,  too  often,  a  second-hand  35mm 
machine.  Used  with  or  without  a 
booth,  this  projector  is  usually  placed 
at  the  rear  of  the  church  auditorium 
and  the  screen,  originally  used  in  stere- 
optican  entertainments,  is  stretched 
before  the  altar.  But  preferred  prac- 
tice seems  to  be  to  hold  shows,  even 
of  religious  subjects,  in  the  parish 
house,  or  in  the  Sunday  School  Room, 
where  the  16mm  projector  prevails. 

Places  of  medical  exhibition  are 
mainly  hospitals,  doctors'  and  nurses' 
training  schools,  and  occasional  inde- 
pendent quarters  of  medical  associa- 
tions. Projection  equipment  in  this  de- 
partment is  ordinarily  efficient,  the 
doctors  seeming  to  realize  more  than 
some  others,  the  superior  results  which 
may  be  obtained  with  proper  instru- 
ments. 

Manufacturing  and  extractive  in- 
dustry (mining,  for  example),  and 
public  utility  groups,  show  many  films 
on  employee  training,  but  such  exhi- 
bitions are  given  mainly  in  recreation 
and  dining  halls  belonging  to  the 
plants,  where  regular  theatrical  35mm 
equipment  serves  also  for  recreational 
noon-hour  shows.  Other  industrial 
films,  which  are  intended  to  inform 
the  public  about  products  and  serv- 
ices, are  entrusted  for  exhibition  widely 
to  other  groups.  This  is  true  also  of 
pictures  dealing  with  advertising,  dis- 
tribution and  sales — the  group  which 
I  have  marked  "commerce."  Em- 
ployee training  subjects  there  are 
rarely  presented  in  35mm  film,  the 
audiences  being  relatively  small.  Only 
occasionally  are  the  shows  on  16mni. 
Instead,  the  bulk  of  the  "commerce" 
internal  work  is  accomplished  with 
slide  films.  For  the  showing  of  those, 
small  slidefilm  projectors  are  common 
possessions  of  sales  offices.  As  to  the 
"social  service"  group,  that  is  dis- 
tinctive principally  in  picture  produc- 
tion, where  it  employs  films  exten- 
sively to  tell  its  story  in  money-raising 
campaigns.  In  its  own  exhibitions,  al- 
though it  maintains  many  community 
auditoriums,  the  subjects  screened  be- 
long more  particularly  under  the  head- 
ing  of  entertainment. 

As  to  the  Government  in  terms  of 
market,  the  Army  theatres,  and  Navy 
halls  on  ships  and  ashore,  use  an 
enormous  quantity  of  35mm  entertain- 
ment film.  Those  who  negotiate  this 
constant  ebb  and  flow  prefer  not  to 
consider  their  work  as  part  of  the 
non-theatrical  field,  suggesting,  indeed, 
that  in  past  years  the  label  has  defi- 
nitely handicapped  them  in  procuring 
late  theatrical  material.  This  goes  for 
the  use  of  motion  pictures  by  the  vet- 
erans' hospitals,  too,  and,  in  a  recent 
period,  also  for  the  camps  of  the  Civil- 
ian Conservation  Corps.  It  applies  to 
the  prisons,  for  which  Herbert  Brenon, 
the  theatrical  producer,  tried  to  get 
up  a  regular  service  of  films  in  1917. 


Automobile  "theatre"  used  by  the  Armstrong  Cork 
Company  of  Lancaster,  Pennsylvania,  to  introduce 
a  new  product  to  retailers.  They  were  invited  to 
see  the  film  at  their  own  doorsteps,  a  private 
show  for  a  few  officials.    Salesmen  did  the  rest. 


(iovernment  schools  are  film  users, 
and,  of  course,  there  the  work  is  un- 
questionably non-theatrical.  And  most 
of  the  other  official  projectors  are 
used  only  to  show  films  made  inter- 
nally and  required  for  study  purposes. 
Remember  that  this  is  speaking  of  the 
Government  in  terms  of  market;  the 
Government  as  a  producer  of  special 
films,  is  to  be  rated  very  differently, 
and  I  hope  earlier  pages  have  made 
clear   in   what  way   this  is   so. 

Local  governments  do  not  appear 
in  important  aspects  save  through  co- 
operation with  school  and  health 
boards,  chambers  of  commerce  and 
training  schools  for  firemen  and  po- 
licemen. Their  inclination  to  use  films 
in  the  police  departments  is  not  far 
developed,  and,  in  any  case,  must 
necessarily  involve  much  internal  pro- 
duction of  the  pictures.  They  have 
their  own  specialized  needs  which  no 
outsider  could  know.  The  county  po- 
lice, of  Nassau,  on  Long  Island,  made 
for  record  purposes  a  motion  picture 
of  a  murder  case,  that  of  W.  F.  Gill- 
ride,  in  the  summer  of  1928.  In  1929 
the  Philadelphia  police  experimented 
with  talkies  to  supplement  fingerprint 
identification,  and  in  1934  the  Michi- 
gan State  Police  tried  the  use  of  mo- 
tion picture  cameras  to  prove  drunks. 
These  instances  are  just  casual  ref- 
erences out  of  a  large  number  of 
even  earlier  date.  The  police  of  all 
countries  have  been  interested  in  film 
possibilities  for  the  detection  of  crime 
for  many  years. 

The  attempts  to  use  motion  pictures 
as  court  evidence  are  also  old,  but 
these  have  rarely  been  successful  ow- 
ing to  the  technical  possibilities  of 
falsifying  photographs,  or,  in  all  events, 
in  presenting  a  biased  effect  by  expert 
editing.  In  February,  1920,  a  Cali- 
fornia court  ruled  out  the  use  of  films 
as  murder  evidence,  and,  in  November, 
1923,  a  New  York  court  denied  them 
in  an  accident  suit.  On  the  other  hand, 
in  March,  1923,  Judge  Weil,  of  the 
Manhattan  Domestic  Relations  Court, 
projected,  for  the  benefit  of  an  ex- 
ceptional number  of  men  and  women 
before  him  who  were  in  marital  diffi- 
culties, a  theatrical  motion  picture 
which,  in  his  opinion,  dealt  construc- 
tively with  the  subject  of  bickering 
couples.  And,  in  September,  1933, 
Counsel  Max  D.  Steuer,  arguing  an  al- 


Icycil  alienation  ul  affections  in  a  New 
York  Supreme  Court,  put  forth  for  the 
jury's  consideration,  motion  pictures 
purporting  to  show  the  once  happy 
home  life  of  his  client. 

A  potential  non-theatrical  motion 
picture  market,  which  has  attracted 
much  attention  from  time  to  time  as 
probably  very  profitable,  is  constituted 
by  the  department  stores,  the  films 
to  be  of  the  employee-training  type, 
and  also  to  help  sell  goods  by  direct 
public  appeal.  Comparatively  few 
stores  are  equipped  for  these  purposes. 
Wanamaker's,  in  New  York  City,  is 
one,  with  an  attractive  auditorium  in 
which  films  are  frequently  shown  to 
shoppers.  One  of  the  earliest  conspic- 
uous cases  of  department  store  activity 
known  to  me  is'  the  show  given  by 
Harris-Emery's,  of  Des  Moines,  in 
September,  1916.  At  that  time,  fashion 
pictures,  made  currently  for  the  the- 
atres by  Pathe,  were  exhibited  along 
with  travelogues,  to  inform  customers 
and  to  stimulate  their  interest  in  the 
new    fall   styles.    - 

And  speaking  of  stores,  there  are  the 
shop  windows,  where  advertising  films 
have  been  shown  since  ever  so  long 
ago,  using  continuous  projectors.  In 
England,  one  of  the  claims  to  native 
priority  in  projected-picture  develop- 
ment, is  based  on  a  window  show — that, 
in  November,  1889,  William  Friese- 
Greene  thus  attracted  a  sidewalk  crowd 
in  London,  which  had  to  be  dispersed 
by  the  police.  Continuous  projectors 
have  been  favored  also  for  exhibitions 
at  conventions,  and  the  size  of  this 
market  may  be  guessed  when  it  is 
known  that  competent  estimates  set 
the  number  of  conventions  in  the 
United  States  at  approximately  15,000 
annually.  Most  large  convention  halls, 
however,  are  permanently  equipped 
with  35mm  standard  theatrical  equip- 
ment. 

Fraternal  lodges.  Odd  Fellows'  Halls 
and  so  on,  are  sometimes  fitted  perma- 
nently to  show  films,  although,  as  in 
most  of  the  specialized  hobby  and 
sports  clubs,  their  projectors  are  us- 
ually brought  in  from  outside  as 
needed.  Farm  Federation  centers  and 
Granges  have  their  film  shows.  Sani- 
tariums, old  folks'  homes,  prisons  and 
reformatories  are  represented  in  the 
non-theatrical  lists.  Not  to  forget  sum- 
mer camps,  museums,  fortresses,  coun- 


Page    16 


The  Educational  Screen 


try  clubs  and  firehouses.  Hotel  ball- 
rooms are  so  frequently  used  for  public 
gatherings  that  the  more  active  ones 
possess  their  own  standard  theatrical 
machines.  There  are  several  small 
theatres  in  mines,  far  underground,  to 
provide  recreation  for  workers.  World 
War  No.  2  brought  many  other  under- 
ground sorts  in  air  raid  shelters.  One 
of  these  was  mentioned  on  an  earlier 
page.  In  fact,  in  almost  every  place 
where  human  beings  congregate,  it 
will  be  found  that  some  attempt  has 
been  made  to  catch  their  attention  with 
motion  pictures.  And  a  surprisingly 
large  number  of  these  places  is  ready 
to  show  films  regularly  through  the 
long,  unceasing  efforts  of  George  Zeh- 
rung  and  his  Y.M.C.A.  Motion  Pic- 
ture   Bureau. 

As  long  ago  as  1910 — and  for  aught 
I  know  there  may  have  been  earlier 
instances — a  project  was  afoot  to  show 
films  in  railroad  stations  on  the  same 
screens  which  announced  the  trains. 
That  particular  one  concerned  the 
Pennsylvania  Railroad,  which  con- 
sidered a  possibility  of  trying  it  out 
in  the  Union  Station  at  Pittsburgh. 
Of  course,  this  form  is  now  in  active 
use  in  various  cities.  There  is  one 
little  theatre  of  the  type,  opened  in 
1937,  at  Grand  Central  Station  in  New 
York  City,  and  several  years  earlier 
was  instituted  the  one  operating  at 
the  South  Station  in  Boston.  The  ex- 
periment of  entertaining  diners  with 
films  has  been  tried,  less  prominently 
but  quite  as  persistently.  A  recent 
example  was  the  trial  by  "The  Talky 
Sandwich  Shop,"  at  San  Diego,  Cal- 
ifornia, in  1931.  In  1936  the  Paramount 
Court  Restaurant,  adjoining  the  Para- 
mount Theatre  in  London,  exhibited 
newsreels.  Then  there  were  the  ro- 
tisserie  at  Jackson,  Mississippi,  and  a 
beer  garden  in  New  York  City,  which 
used  films  in  the  spring  of  1936.  In 
1939  the  New  Jersey  State  Alcoholic 
Beverage  Commissioner  approved  the 
exhibition  of  films  in  taverns;  in  1940 
authorities  of  Worcester,  Massachu- 
setts, banned  movies  in  places  serving 
liquor. 

The  transportation  centers  and  their 
related  activities  have  never  ceased 
in  their  attractiveness  to  showmen. 
Among  these,  ships,  for  obvious  rea- 
sons, have  been  most  receptive  to 
films,  and  seagoing  projectors  have 
long  been  known.  In  May,  1910,  Pathe 
was  jubilant  because  five  of  its  pro- 
fessional projectors  had  been  installed 
on  as  many  U.  S.  battleships.  In  1912, 
transatlantic  passenger  boats  of  the 
French  Line  were  showing  pictures  on 
the  high  seas  and,  in  November,  1913, 
A.  H.  Woods,  the  stage  producer,  in 
one  of  his  many  side  enterprises,  in- 
stalled machines  on  ocean  greyhounds 
of  the  Hamburg-America  Line.  The 
Italian  Line  followed  suit  in  the  sum- 
mer of  1914.  The  military  transports, 
of  course,  had  film  exhibitions  aboard 
throughout  the  First  World  War  period. 
In  1920  the  American  S.  S.  Martha 
Washington  installed  movies.  There  seems 
to  have   been  less  favor  given  to  the 


plan  at  first  by  the  Pacific  shipping 
interests,  but  publicity  earned  by  the 
film  equipment  of  the  S.  S.  President 
McKmley  when  it  sailed  from  Seattle, 
in  1923,  apparently  broke  down  all 
remaining  West   Coast  barriers. 

American  ships  have  generally  ob- 
served tlie  U.  S.  land  fire  precautions 
in  such  installations,  but  I  have  been 
shocked  in  even  late  years  at  the  care- 
less violations  of  ordinary  common 
sense  in  this  resjiect,  in  the  equipment 
used  for  nitrate  films  on  many  foreign 
passenger  vessels  of  allegedly  modern 
tyiJc.  Before  1923  the  exhibition  of 
nitro-cellulose  film  was  forbidden  on 
ships  of  Ignited  States  registry,  but  in 
that  year  the  adoption  of  recommen- 
dations of  the  U.  S.  Bureau  of  Stand- 
ards opened  the  way  for  tlic  proper, 
autliorized  use  of  both  nitrate  and  ace- 
tate. Of  recent  years,  Orton  Hicks. 
of  New  York,  conducted  a  prosperous 
business  by  supplying  16nnn  film  en- 
tertainment   for    ships. 

Exhibitions  on  railroad  trains  have 
not  so  far  been  steady  occurrences, 
when  intended  merely  to  amuse  the 
I'.assengers.  W'hen  the  exhibition  cars 
have  been  used  as  traveling  lecture 
lialls,  however,  they  have  been  popular 
and  have  given  excellent  service.  It  is 
said  that  the  first  car  movie  "theatre" 
was  operated  by  the  New  York  Cen- 
tral Railroad  to  show  instructional 
films  to  its  employees  in  various  parts 
of  that  system.  Early  in  1914  there  was 
a  car  of  the  sort  moving  on  the  lines 
of  the  Chicago  &  Northwestern.  The 
Canadian  Government  used  a  similar 
car  early  in  1917  to  spread  lessons 
in  safety.  But  what  appears  to  have 
])een  the  first  American  entertainment 
movie  for  passengers  in  transit,  was 
remarked  in  1923  on  the  Chicago  & 
Alton  Railway.  In  all  events,  tlic 
Railway  made  that  claim  for  it. 

At  the  same  time  I  note  that,  about 
February,  1915,  a  concern  called  Ki- 
netic Films  was  organized  at  Buffalo, 
N.  Y.,  to  show  films  on  trains.  Also, 
knowing  how  actively  Pathe  Freres 
worked  to  realize  every  conceivable 
use  of  motion  pictures  in  the  earliest 
years  of  the  industry,  I  suspect  that 
its  projectors  must  have  gone  on  trains 
at  least  as  soon  as  they  did  on  battle- 
ships; and  I  should  not  be  surprised  to 
learn,  therefore,  that  the  railways  of 
France  represented  the  actual  pioneers. 
I  should  look  for  the  facts  in  the  his- 
tory of  the  French  Pathe  Company, 
which  did  it  many  times  over  the 
years.  The  most  recent  Pathe  ex- 
amples shown  by  my  records  occurred 
in  May,  1936,  when  the  English  ex- 
press train  from  London  to  Leeds  was 
equipped,  and  in  March  of  the  same 
year,  when  machines  and  films  were 
provided  for  the  express  from  Leeds 
to  Edinburgh. 

In  December,  1935,  the  Coast  to 
Coast  Railroad  Theatre  Corporation, 
with  an  idea  of  service  modeled  on 
that  of  the  dining-car  system,  was 
formed  at  Albany,  N.Y.  Incorporators 
were  Oscar  Rubin,  Goldie  Stahl  and 
Mollie  Schnee.  In  May,  1936,  an- 
nouncement   came    from    Minneapolis 


that  the  Chicago,  Burlington  &  Quincy 
Railroad  would  show  talkies  on  its 
three  crack  Western  trains  from  Chi- 
cago to  Denver,  using  dining-cars  after 
mealtime.  Test  showings,  over  a  two- 
weeks  period,  involved  questionnaires 
filled  in  by  the  passengers,  and  de- 
cided, among  other  considerations,  that 
an  admittance  charge  of  twenty-five 
cents  was  proper.  Seating  capacity 
was  thirty-eight  persons,  and  the 
equipment  was  16mm.  Theatrical  sub- 
jects were  shown,  and  a  marked  pref- 
erence was  evidenced  for  musical 
comedies.  The  Burlington  officials 
were  reported  to  be  immensely  pleased 
with  results,  and  were  said  to  have 
planned  the  addition  of  a  number  of 
exclusively  anmscment  cars  to  their 
rolling  stock.  But  the  other  railroads 
in  the  Conference  for  that  zone,  asked 
them  to  drop  the  plan  for  the  time, 
indicating,  however,  that  after  further 
study  it  mi.ght  be  resumed. 

"First"  sliowings  in  any  unusual 
places  are  most  likely  to  be  mere 
press  agent  stunts.  Such  was  P.  W. 
Campbell's  exhibition  of  Harold 
Lloyd's  comedy  "Safety  Last"  on  a 
Los  .Angeles  street  car  in  December, 
1929.  Likewise,  without  good  and  suffi- 
cient reason,  we  already  have  heard 
of  "first"  movies  in  airplanes  and  dir- 
igibles. Meaning  no  disrespect  to  the 
aims  of  this  relatively  harmless  pub- 
licity, one  may  nevertheless  observe 
that  such  "firsts"  are  not  really  as 
epochal  as  the  press  agents  seem  to 
believe.  In  the  autumn  of  1936  Uni- 
versal Pictures  made  much  of  its  ex- 
hibition of  "the  first  sound  picture  to 
be  screened  in  the  air,"  the  feature 
being  "Air  Hostess,"  the  place  in  a 
transport  plane  flying  high  over  New 
York  City,  and  the  audience  chiefly 
local  newspapermen.  This  stunt  was 
repeated  in  Chicago  and  Kansas  City. 
Reach 

It  seems  self-evident  that  a  haphaz- 
ard course  of  nature  rather  than  a 
rule  of  reason  made  non-theatrical 
pictures  what  they  were  and  places  of 
exhibition  what  they  became.  The 
same,  scarcely  managed  forces  were 
involved  to  bring  supply  and  market 
together  by  creating  a  system  of  dis- 
tribution. Of  course,  it  was  easy  and 
inexpensive  enough  to  ship  films  from 
producer  to  consumer.  After  January 
1,  1917,  when  the  regulation  became 
effective,  it  was  possible  to  send  mo- 
tion picture  films  by  parcel  post.  Still, 
this  was  scarcely  a  system  of  film 
distribution.  In  the  main  the  system 
was  a  borrowing  from  theatrical  prac- 
tice wherever  the  method  seemed  to 
fit  the  case.  Exchanges — that  is,  local 
supply  depots — operating  as  branches 
of  central  offices,  distributors  with 
regional  franchises,  independent  and 
block  booking  schemes,  all  were 
adopted  and  used  together  with  com- 
Iiromises  suggested  by  expedient  ideas 
in  other  lines  of  merchandising.  For 
variety  of  approach  to  the  customer, 
the  non-theatrical  field  possibly  even 
has  had  some  lessons  to  teach  to  the- 
atrical men. 

(To  be  confinucd) 


January,   1943 


All  photos  courtcsv  of 
the  Edison  Company 
and  the  Museum  of 
Modern  Art. 


Edison 
Tried  It,  Too 

By  WILLIAM  L.  JAMISON 

The  field  investigator  ior  the  Museiun 
of  Modern  Art  Film  Library,  who  worked 
with  Edison  throughout  his  motion  picture 
years,  tells  why  non-theatrical  folk  should 
celebrate  the  inventor's  coming  birthday 


WFIEN  IT  comes  to  opinions  on  education,  the  out- 
standing paradox  in  the  much  discussed  attitude 
of  Thomas  A.  Edison— whose  birthday  occurs  in 
l-"ebruary  along  with  those  of  two  other  great  Americans 
— was  that  on  one  hand  he  could  not  conceive  of  any 
normal  person  being  too  lazy  to  learn,  and  on  the  other 
he  gave  his  life  to  creating  apparatus  to  save  human  effort. 
It  seems  to  me  that  this  was  at  the  bottom  of  his  fre- 
quently expressed  opinion  that  the  motion  picture,  which 
he  invented  in  about  all  practical  aspects,  would  supplant 
the  classroom  textbool:  "in  ten  years."  These  words  were 
twisted  to  say  that  it  would  supplant  the  teacher  in  ten 
years;  but  I  have  never  seen  any  direct  quotation  which 
said  precisely  that. 

Of  course  that  would  have  been  wrong.  We  always 
will  need  teachers.  Regardless  of  the  march  of  technology, 
tiiere  always  will  be  a  requirement  for  a  directing  mind 
to  apply  the  dumb  machine  and  to  interpret  its  action.  But 
to  this  man  who,  in  his  early  years,  was  so  athirst  for 
knowledge  while  denied  the  benefits  of  formal  education 
that  he  forced  his  eager,  unaided  way  into  vast  secrets  of 
science  for  the  benefit  of  mankind,  it 
was  just  incredible  that  anyone  could 
refuse  to  take  up  knowledge  once  it 
was  spread  before  him.  It  is  a  pity  that 
this  honest  and  understandable  point  of 
view  should  have  led  him  to  utterances 
which  antagonized  teachers  and  that 
have  caused  many  of  them  since  to 
dismiss  all  of  Edison  but  his  inventions. 
In  this  indiscriminate  shutting-out, 
the  affronted  teachers  have  closed  the 
door  also  on  many  of  Edison's  teaching 
contributions — constructive  ideas  and 
practical  approaches  to  classroom  prob- 
lems which  far  outweigh  his  well-mean- 
ing trespass  on  pedagogical  dignity.  As 
I  recall,  he  talked  about  a  "vanishing" 
opera,  too — at  that  time  when  his  inven- 
tion of  the  phonograph  had  caught  the 
popular    imagination — instead    of    whicli 

Interior  mechanism  of  the  Home  Kinet- 
oscope.  The  hand  touches  an  arc  light 
control,  but  the  carbons  are  missing. 
Note  the  base  made  of  wood  and  the 
hand-drive  in  front  for  the  tripartite  film. 


The  Wizard  of  Menlo  Park  about  1913.  He  is  giving  final 
inspection  to  his  then  newly  invented  Home  Kinetoscope 
made    to    serve    a    still    undeveloped    non-theatrical    field. 

his  talking  machine  gave  the  opera  an  extended  lease  on 
life  by  developing  musical  appreciation  everywhere  out- 
side the  Diamond  Horseshoe.  And  his  mistaken  judgment 
in  still  another  vast  field  was  evinced  when  he  pronounced 
the  talking  picture  something  that  the  public  did  not  want, 
his  own  early  experience  with  talkies  not  having  turned 
out  so  well.  But  is  a  great  benefactor  of  the  race  to  be 
condemned  for  these  relatively  small  opinions  when  he 
proved  his  unerring  knowledge  of  what  the  public  does 
want  by  giving  it  the  incandescent  light,  the  central  power 
station,  the  phonograph,  the  motion  picture,  and  a  host 
of  other  tangible  blessings? 


T  T  IS  \OT  common  knowledge  in  the  field  of  visual 
•'■  instruction  that  Edison  produced  a  number  of  teaching 
films  and  made  widely  available  a  non-theatrical  projector 
designed  and  built  in  his  ov^'n  laboratories,  together  with 


Page  18 


The  Educational  Screen 


allel   rows 
mechanism 


of    pictures 
moved   the 


a  library  of  other  pictures  to  be  run  upon  it.  While  these 
items  are  long  since  forgotten  even  by  those  who  knew 
the  facts  best — just  as  the  once  celebrated  "Edison  Con- 
quest Family  Program"  of  clean  theatrical  motion  pictures 
has  passed  from  recollection — the  circumstances  in  which 
his  memory  may  be  slighted  by  some  person  ignorant  of 
what  he  really  did  for  visual  instruction,  justify  a 
reminder  of  the  facts  in  this  place  and  on  this  anniversary 
occasion. 

In  the  pio-  a^ 

neer    motion  H^ 

picture     per-  ^H 

iod     of     the  Hi 

first  two  dec-  B| 

ades    of    the  "" 

present  cen- 
tury, when  there  was  small  dif- 
ferentiation between  theatrical 
and  non-theatrical  films,  nobody 
thought  much  about  all  this.  It 
was  just  taken  for  granted  that 
Edison  had  an  organization  that 
produced  entertainment  films 
with  machines  that  he  had 
devised  in  a  sort  of  recreational 
way  between  times,  and  that  he 
was  too  busy  with  more  impor- 
tant things  to  supervise  or  even  to 
decide  on  "picture  plays"  that 
were  turned  out.  There  was, 
besides,  a  prevailing  contempt  for 
pictures,  fine  critics  holding  that 
the  crowd  went  to  see  them 
mainly    because    the    hoi    polloi 

didn't  know  anything  about  Art.  Nevertheless,  the  Edison 
Company,  in  common  with  all  other  cinematographic 
enterprises  of  that  colorful  time,  produced  many  subjects 
that  nowadays  would  fall  readily  into  the  non-theatrical 
class,  under  such  headings  as  Geography,  Social  Science, 
and  Literature.  There  were,  for  instances,  the  patriotic 
"history"  reels :  "The  Minute  Man,"  "The  Capture  of  Fort 
Ticonderoga,"  and  "The  Declaration  of  Independence." 
Those  theatrical  pieces  were  made,  of  course,  at  the  Edison 
Bedford  Park  Studio  in  Manhattan's  Borough  of  the 
Bronx,  and  not  in  his  main  plant  at  West  Orange. 

Then  it  was  a  prevailing  practice  for  a  producing 
organization  to  make  films  for  any  customer  who  happened 
along,  in  addition  to  the  regular  theatrical  output;  and, 
again  in  the  case  of  the  Edison  Moving  Picture  Company 
(which  was  just  one  of  many  businesses  bearing  the 
inventor's  name),  no  outsider  attributed  to  Edi.son  person- 
ally such  basely  commercial  reels  as  that  which  his  film 
studio  made  in  1914  to  advertise  Skinner's  Silks  and 
Satins. 

The  Skinner  film  is  mentioned  particularly  because  in 
it  occurred  a  passing  study  of  the  silkworm.  Other  indus- 
trial subjects,  in  which  scientific  demonstration  became 
necessary,  led  to  the  shooting  of  more  footage  of  an 
obviously  "educational"  nature.  And,  if  Edison  was  not 
personally  responsible  for  the  being  of  such  material,  he 
was  at  least  made  aware  thereby  of  especial  camera 
opportunities  for  popular  learning.  I  do  not  at  all  doubt 
that  these  excursions  into  advertising  pictures  for  large 
industrial  accounts  had  much  to  do  with  the  subsequent 
production  of  teaching  films  that  really  were  Edison's. 

Impelled  by  his  own  special  interests  in  matters  such  as 
electricity,  chemistry  and  "dynamics,"  rather  than  by  any 
survey  of  the  school  field — which  at  that  time  was  virtually 
non-existent  anyway— Edison  produced  experimentally 
quite  an  impressive  list  of  "scientific"  subjects.  The  titles 
included:  "Magnetism  and  the  Electro-Magnet"  (in  six 
reels);   "Crystals:   Their   Habits   and   Beauty"    (first  of 


A  specimen  Home  Kinetoscope  film.  The  actual  size  is 

indicated  above  at  left.  Enlargement  shows  three  par- 

which    were    projected    as    the 

film   up   and   down   its   length. 


the  natural  and  physical  science  series,  released  in 
December,  1914)  ;  "The  Cecropia  Moth,"  "The  Cabbage 
Butterfly,"  "Draining  Meadow  Land,"  "Getting 
Acquainted  With  Bees,"  "Hydrostatics,"  "Ants  and  Water 
Bugs,"  "The  Housefly,"  "Insect  Life,"  "Microscopic 
Pond  Life:  Algae,"  "Lady  Beetles,"  "The  Sea  Horse," 
"Sea  Lions,"  "The  Larvae,"  "Spiders,"  "An  Ocean 
Recluse :  the  Hermit  Crab,"  and  one,  as  I  recall,  concern- 
ing sharks.  The  em- 
phasis was  on  nature 
study,  it  seems  from 
this  list ;  but  it  contain- 
ed plenty  of  "elec- 
tricity, chemistry  and 
'dynamics' "  neverthe- 
less. 

It  would  be  difficult 
to  say  what  these  films 
cost,  for  they  were 
frankly  experimental 
and  involved  many 
long  hours  of  valuable 
attention  apart  from 
the  daily  laboratory 
stint.  Five  dollars  a 
foot,  at  a  time  when 
many  a  feature  was 
made  under  two,  is 
a  very  meager  estimate. 
The  more  technical  sub- 
jects were  put  forth  un- 
der Edison's  personal 
direction,  by  Sheldon 
("Skeets")  Warner,  a 
tall  lanky  scientist  who  subsequently  left  the  Edison  employ 
to  go  into  business  for  himself,  and  whom  I  last  knew  as 
a  maker  of  precision  gauges  for  Henry  Ford  at  his  own 
plant  in  West  Orange,  New  Jersey.  As  to  what  has  become 
of  the  films,  I  cannot  say  positively  offhand ;  but  George 
Kleine  was  distributing  some  of  them  well  into  the  nine- 
teen-twenties. 


■pUT  IT  was  "Bill"  Waddell  who  initiated  the  train  of 
■*-'  events  which  led  to  production  of  the  Edison  Home 
Kinetoscope.  Waddell  was  another  of  those  monkey- 
wrench  scientists  who  are  so  inextricably  connected  with 
the  progress  of  American  invention.  While  "the  Old  Man" 
was  astounding  the  world  with  the  magic  of  his  regular 
theatrical  Kinetoscope,  Waddell  was  tinkering  with  a 
couple  of  simple  sprockets  out  of  which  he  hoped  to  evolve 
a  toy  projector  for  children.  It  was  not  an  idle  dream, 
either.  I  have  often  said  that,  if  he  had  not  been  turned 
aside  from  it,  the  Edison  plant  would  not  have  been  large 
enough  by  several  acres  to  meet  the  probable  market 
demand. 

When  the  idea  came  up  for  Edison's  consideration,  the 
plaything  objective  was  dismissed  in  favor  of  making  a 
projector  that  might  be  used  by  adults  in  the  home,  the 
classroom,  and  in  all  those  other  conceivable  places  which 
we  now  call  non-theatrical.  "Billy"  Gaul,  the  laboratory 
expert  on  machine  design  who  had  acquired  a  personal 
interest  in  what  his  friend  Waddell  was  doing,  was  given 
the  gadget  for  official  development.  Under  his  careful 
supervision  the  Home  Kinetoscope  came  into  being.  The 
nature  of  that  machine  is  clearly  shown  in  the  illustrations 
accompanying  this  article. 

There  were  sizeable  orders  for  it  hither  and  yon  and, 
to  encourage  users,  a  large  number  of  theatrical  films 
made  by  the  Edison  studios  were  reproduced  by  optical 

{Concluded  on  page  35) 


January,  1943 


Page  19 


Department  of  Visual  Instruction  of  the  N.  E.  A. 


THE  annual  D.  V.  I.  meeting  at  St.  Louis  next 
month,  held  concurrently  with  the  seventy-third 
Annual  Convention  of  the  American  Association  of 
School  Administrators,  February  26-March  2,  should 
command  special  attention  from  all  interested  in 
the  visual  field.  It  comes  at  a  crucial  time,  when 
the  tide  of  war  is  definitely  turning  toward  an  Allied 
Nations  victory,  a  victory  which  may  come  sooner 
than  anyone  may  think  or  can  know.  The  sudden 
advent  of  peace  to  the  war-torn  world  will  bring 
problems  as  tremendous  as  those  of  war.  The  edu- 
cational field  must  give  its  best  if  we  are  to  main- 
tain our  national  equilibrium  through  the  world- 
shaking  readjustment  that  will  begin  the  moment 
the  guns  are  silenced. 

Visual  methods  and  materials  have  played  and 
are  playing  a  mighty  role  in  national  training  for 
the  war  emergency.  They  should  play  a  still  larger 
role  indefinitely  after  the  war.  The  Department 
of  Visual  Instruction  of  the  N.E.A.  should  become, 
as  never  before,  the  dominant  national  force  for 
raising  visual  instruction  to  hitherto  untouched 
heights  in  peace-time  education.  The  February 
meeting  is  none  too  soon  to  begin  definite  plans  to 
that  end.  Curtailment  of  travel  will  doubtless  cut 
down  attendance  from  distant  areas.  It  is  the  more 
essential  that  all  D.V.I,  members  within  reasonable 
radius  of  St.  Louis  do  their  utmost  to  be  present. 
The  tentative  program,  printed  below,  should  be 
richly  worthwhile,  not  only  for  its  own  content  but 
as  a  stimulus  to  important  planning  for  the  months 
and  years  ahead.  The  St.  Louis  meeting  should  be 
a  definite  step  toward  a  greater  future  for  visual 
instruction.  Say  to  yourself  now,  "I'll  be  there," 
and  mean  it! 

Tentative  D.V.I.  Program 
Monday,  March  1 

9:30  A.M.  Business  Meeting 

2:15  P.M.  Dr.  Ben  Wood,  of  the  U.S.  Office  of  Edu- 
cation and  Columbia  University,  will  speak 
on  the  changing  map  of  the  world  due  to 
the  air  age. 

Tuesday,  March  2 
9:30  A.M.  Ivory  Room,  JeiTerson  Hotel 
2:15  P.M.  Crystal  Room,  Jefferson  Hotel 
Theme:  "The  Use  of  Visual  Aids  In  War  Time" 

A.  For  Training  Purposes 

1.  In  the  Army — Captain   Charles  Hoban,   Signal 
Corps 

2.  In    the     Navy- — Lieutenant    Don    Williams, 
U.S.N. R. 

3.  In     School     and     Factories — Mr.     Floyde     E. 
Brooker.  U.S.  Office  of  Education 

B.  For  Information  and  Urderstanding 

1.  At  Home — Mr.  Paul  Reed,  Director,  Bureau  of 
Motion  Pictures,  Office  of  War  Information 

2.  And  Abroad — (A  speaker  from  the  State  De- 
partment has  been  invited) 


DVI  Zone  Officers 

Several  changes  have  occurred  in  the  list  of  officers 

for  the  DVI  zones  during  the  past  few  months.  Follow- 
ing are  the  names  and  addresses  of  the  presidents  and 

secretary-treasurers  as  they  now  stand. 

Zone  I  (Connecticut,  Maine,  Massachusetts,  New 
Hampshire,  Rhode  Island,  Vermont) 

President,  Edward  F.  Wheeler,  City  Schools,  Bristol, 
Conn. 

Secretary,  Chester  A.  Robinson,  J.  S.  Kendall  School, 
Belmont,  Mass. 

Zone  II  ( Delaware,  Maryland,  New  Jersey,  New  York, 
Pennsylvania,  Virginia) 

President,  E.  Winifred  Crawford,  Public  Schools,  Mont- 
clair,  N.J. 

Secretary,  James  S.  Kinder,  Pennsylvania  College  for 
Women,  Pittsburgh 

Zone  III  (Indiana,  Kentucky,  Michigan,  Ohio,  West 
Virginia) 

President,  Ford  L.  Lemler,  University  of  Michigan, 
Ann  Arbor 

Secretary,  D.  Arthur  Bricker,  Visual  Aids  Exchange, 
Cincinnati  Public  Schools 

Zone  IV  (Illinois,  Iowa,  Missouri,  Wisconsin) 

President,  L.  W.  Cochran,  University  of  Iowa,  Iowa 
City. 

Secretary,  Donald  W.  McCavick,  313  College  Court, 
Iowa  City,  la. 

Zone  V  (Minnesota,  North  Dakota,  South  Dakota) 

President,  Ella  Callista  Clark,  Winona  State  College, 
Minn. 

Secretary,  Donald  K.  Lewis,  Central  High  School,  Red 
Wing,  Minn. 

Zone  VI  (Idaho,  Montana,  Oregon.  Washington) 

President,  Alan  Finstad,  Fife  School,  Tacoma,  Wash. 

Secretary,  Katherine  S.  Klise,  High  School,  Sunny- 
side,  Wash. 

Zone  VII  (Arizona,  California.  Nevada,  New  Mexico) 

President,  Boyd  B.  Rakestraw,  University  of  Cali- 
fornia, Berkeley 

Secretary,  George  M.  Jamieson,  Jr.,  City  Schools, 
Eureka,  Cal. 

Zone  VIII  (Colorado,  Kansas,  Nebraska,  Utah,  Wyo- 
ming) 

President,  Lelia  Trolinger,  University  of  Colorado, 
Boulder 

Secretary,  Jeanette  Parker,  State  College  of  Education, 
Greeley,  Colo. 

Zone  IX  (Arkansas,  Louisiana,  Oklahoma,  Texas) 

President,  B.  F.  Holland,  University  of  Texas,  Austin 

Secretary,  Paul  F.  McRoy,  Visual  Education  Labora- 
tory, 1500  Louisiana  St.,  Houston,  Tex. 

Zone  X  (Alabama,  Florida,  Georgia,  Mississippi,  North 
Carolina,  South  Carolina,  Tennessee) 

President,  Oscar  Sams,  Jr.,  University  of  Tennessee, 
Knoxville 

Secretary,  Bernice  Mims,  Extension  Division,  Univer- 
sity of  Florida,  Gainesville 

Send  in  your  renewal  to  the  secretary  of  your  xonel 

{Concluded  on  page  24) 


Page  20 


The  Educational  Screen 


The  Film  and  International  Understanding 


The  Cinema  in  World  Educalion 

Dr.  Paul  Monroe 

THE  school  must  include  the  cultural  range  of  a 
society.  Hence  in  these  modern  times  the  school 
should  include  the  cinema.  In  fact,  education,  though 
not  always  through  the  formal  education  of  the  schools, 
has  already  included  the  cinema. 

One  argument  for  the  general  recognition  of  the  edu- 
cational power  of  the  film  for  good  or  for  evil  in  world 
affairs  is  the  general  use  that  has  been  made  of  it  by 
the  totalitarian  countries  to  produce  the  subordination 
of  their  youth  to  their  ideology.  The  cinema  becomes 
with  thtm  one  of  the  most  favored  methods  in  modern 
education  to  produce  the  results  which  they  desire.  The 
advantage  of  this  method  is  that  it  is  not  confined  to 
the  formal  educational  processes  of  the  school. 

It  is  a  well  known  fact  that  America  is  best  known 
in  many  foreign  lands  through  the  cinema.  Perhaps 
b}'  no  other  method  could  America  be  made  known  so 
intimately  to  foreign  observers  as  through  this  in- 
strument.   Its  possibilities  are  almost  unlimited. 

The  cinema  as  now  used  in  many  modern  schools  in 
geography,  history  and  related  subjects  is  a  vital  aid  to 
auditory  impressions,  and  as  a  visual  aid  is  always 
very  effective.  This  use  is  only  a  beginning,  and  may 
be  but  a  very  slight  indication  of  the  possible  future 
use  of  a  method  which  is  capable  of  a  mighty  develop- 
ment. 


DR.  MONROE'S  optimistic  view  of  the  potential 
expansion  of  the  use  of  the  educational  film  cer- 
tainly is  being  borne  out,  even  as  these  very  lines  are 
being  written.  Even  the  most  enthusiastic  advocates 
of  visual  aids  have  been  amazed  by  the  size  and  scope 
of  the  tremendous  contribution  which  the  educational 
film  already  is  making  to  the  war  effort  in  so  many 
ways — and  the  end  is  not  yet  1 

The  statement  that  the  present  use  of  the  educational 
film  "is  only  a  beginning,  and  may  be  but  a  very  slight 
indication  of  the  possible  future  use  of  a  method  which 
is  capable  of  a  mighty  development"  is  nowhere  truer 
than  it  is  in  the  field  of  international  understanding. 
Here  we  have  only  begun,  and  a  whole  world  of  op- 
portunity lies  ahead. 

Two  fundamental  causes  may  be  responsible  for  the 
slower  progress  in  this  field  ....  one  of  them  technical, 
and  the  other  psychological: 

First  of  all,  certain  technical  devices,  such  as  color, 
sound,  montage  and  synchronization,  which  enable  the 
film  more  easily  to  overcome  barriers  of  time,  space, 
and  language,  have  only  recently  been  brought  to  a 
high  degree  of  refinement. 

Secondly,  there  was  no  intense  demand  for  use  of 
the  film  in  international  understanding  until  the  present 
world  crisis  arose,  and  therefore  even  the  techniques 
which  were  available  were  not  seriously  considered  in 
this  particular  connection. 

Some  travel  films  have  used  these  techniques  with 


Edited  by  DR.  JOHN  E.  DUGAN 

Haddon  Heights,  New  Jersey,  Schools 


EDITOR'S  NOTE— Dr.  Monroe,  who  wrote  this  brief  ar- 
ticle exclusively  for  this  page,  is  a  world  renowned  authority 
on  educational  history  and  international  education.  In  addi- 
tion to  service  as  President  of  the  World  Federation  of 
Education  Associations  and  as  Director  of  the  International 
Institute  of  Teachers  College  at  Columbia,  he  has  held 
distinguished  educational  posts  in  various  parts  of  the  world, 
and  holds  honorary  degrees  from  the  University  of  Peking, 
the  University  of  Brazil,  and  the  University  of  Dublin. 

This  page  is  honored  to  have  Dr.  Monroe's  comment  on 
"The  Cinema  in  World  Education." 


great  effectiveness.  Although  not  usually  made  with 
an  eye  to  developing  international  understanding,  some 
of  these  films  nevertheless  contain  material  which  may 
prove  to  be  of  great  value  in  that  direction. 

Although  we  still  are  learning  some  of  our  first 
lessons  in  the  use  of  the  film  in  developing  international 
understanding,  experience  in  the  present  crisis  already 
has  evolved  certain  principles  which  seem  to  be  valid 
in  this  field.  Purely  militaristic  films,  films  which  are 
chiefly  concerned  with  the  movements  of  masses  of 
troops  and  equipment,  do  not  seem  to  be  particularly 
effective.  Films  which  are  purely  nationalistic,  which 
seek  to  portray  the  power  and  glory  of  some  nation  to 
the  exclusion  of  almost  everything  else,  do  not  con- 
tribute to  friendly  understanding.  Films  which  preach 
about  abstractions  do  not  achieve  very  concrete  results. 

Those  films  which  center  about  ordinary  human 
beings  and  reach  out  from  them  for  their  lessons  seem 
to  be  most  effective.  When  Mr.  Proudfoot  shows  a 
light,  he  creates  more  real  understanding  and  sym- 
pathy than  many  a  lofty  flight  of  cinematic  artistry 
might  achieve.  "Village  School"  seals  a  bond  of 
friendship  that  a  film  tour  of  all  the  universities  in 
England  could  not  create. 

This  principle  of  ordinary  human  interest  applies 
even  when  the  film  is  concerned  with  military  matters 
or  with  abstract  ideas.  We  can  sense  the  drive  and 
determination  of  an  army  which  is  marching  along 
with  Corporal  Jones,  and  we  can  become  emotional 
about  some  abstract  principle  which  is  pressing  in  on 
the  hopes  and  fears  of  some  ordinary  mortal  on  the 
screen.  Perhaps  this  principle  of  interest  in  the  human 
individual  may  be  the  seed  from  which  will  come  the 
power  of  the  film  in  bringing  about  international  under- 
standing and  influencing  reconstruction  in  the  post-war 
world. 

Will  this  sort  of  film  be  the  type  for  those  days. and 
those  needs?  Will  the  documentary  film  play  a  major 
role?  How  will  these  films  be  financed,  produced, 
distributed,  exhibited,  interpreted? 

These  questions  challenge  all  those  who  are  inter- 
ested in  visual  education.  Answering  them  will  demand 
intelligence,  ingenuity,  and  practical  ability.  They  de- 
serve all  9f  that.  For  how  they  are  answered  ma>' 
have  much  to  do  with  determining  the  course  of  re- 
construction in  the  post-war  world. 


January,  1943 


Page  21 


•  A  Vital  New  Use  for  RCA  Audio -Visual  Aids!  • 


Johnny  Doughboy  mastered  his 
machine  gun  •  •  •  at  the  movies! 


In  the  training  camp  where  Johnny  was  stationed,  he  had 
to  go  to  the  movies.  It  was  part  of  his  training. 

For  the  movies  Johnny  saw  were  of  a  very  special  kind- 
produced  by  Uncle  Sam  and  shown  only  to  Uncle  Sam's 
soldiers.  These  films  taught  Johnny  how  to  man  his 
machine  gun. 

Of  course  they  didn't  replace  actual  handling  and 
practice  with  the  gun  —  but  they  gave  Johnny  Dough- 
boy a  pretty  good  idea  of  what  to  do  the  first  time  he 
squatted  on  the  firing  range  and  crooked  his  finger 
around  the  trigger.  They  gave  him  the  background  and 
theory  of  the  gun,  explained  its  intricate  mechanism, 
showed  its  correct  use,  taught  him  how  to  protect  him- 
self against  injury. 
Time  is  short  in  this  war,  and  this  new  visual 


method  has  helped  our  Army  and  Navy  train  thousands 
of  men  in  each  camp  simultaneously,  quickly  and  accu- 
rately, in  the  handling  of  weapons,  in  the  practice  of 
military  maneuvers  and  operations,  in  conduct  under 
combat  conditions. 

RCA  is  proud  of  the  part  its  projectors  and  its  film  record- 
ing and  reproducing  facilities  are  playing  in  the  use  of 
these  strategic  films.  They  help  make  Johnny  Doughboy 
the  best  trained  soldier  in  the  world  today. 

Today,  RCA  16mm.  sound  projectors  are  available  only 
for  war  training  purposes.  That's  why  the  RCA 
equipment  you  now  have  should  be  kept  in 
perfect  running  order.  It  must  be  kept  working 
until  you  can  again  buy  these  superior 
projectors  for  your  educational  work. 


ICTORY 
BUY 


WAR 

%ONUS 


RCA  AUDIO-VISUAL  SERVICE 

EDUCATIONAL  DEPARTMENT 
RCA  Manufacturing  Company,  Inc.,  Camden,  N.  J. 


Page  22 


The  Educational  Screen 


SCHOOL  MADE  MOTION  PICTURES 


ONE  of  the  outstanding  school-made  films  of  1942 
is  Hoover  High  Prepares,  the  timely  production 
of  the  students  of  Herbert  Hoover  High  School,  San 
Diego,  California.  Winner  of  a  first  award  in  the 
New  York  University  High  School  Motion  Picture 
Contest,  the  film  contains  many  ideas  in  which 
school  film  makers  are  interested  today. 

Through  the  courtesy  of  Miss  Ruth  Henry,  faculty 
advisor  of  the  Herbert  Hoover  photography  group, 
the  complete  shooting  script  of  the  film  has  been  se- 
cured and  is  partially  reprinted  below.  The  script 
gives  full  details  for  98  scenes,  numbered  consecutively 
1  to  98,  with  customary  opening  and  closing  titles. 
Every  scene  is  marked  as  close-up  (C.U.),  middle 
shot  (M.S.),  long  shot  (L.S.),  and  special  techniques 
required  in  certain  scenes,  such  as  panning,  camera 
angles,  camera  positions,  etc.,  are  always  indicated. 

The  film  is  divided  into  10  parts  by  content  titles 
as  follows : 


By    HARDY    R.    FINCH 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 


First  Aid  Classes 

Scenes  2  to  18 

Knitting 

Scenes  19  to  31 

Stretcher  Construction 

Scenes  32  to  58 

Surgical  Dressings 

Scenes  59  to  63 

Red  Cross  Sewing 

Scenes  64  to  68 

Red  Cross  Collection 

Scenes  69  to  71 

Defense  Stamps  and  Bonds 

Scenes  72  to  79 

Print  Shop  Works 

Scenes  80  to  86 

Art  in  Defense 

Scenes  87  to  92 

Air  Raid  Drill 

Scenes  93  to  98 

To  show  the  form  and  detail  of  the  shooting  script, 
the  subject  of  Stretcher  Construction  above  is  re- 
printed in  full  below : 

Title — Stretcher  Construction 

Scene  32.  C.  U.  Sign  on  wire  around  aluminum  pile  on 
lawn.  "Aluminum  for  Stretchers".  Two  completed 
stretchers  arranged  in  front  of  it. 

Scene  33.  M.  S.  Six  boys  bring  boxes  full  of  aluminum  and 
put  on  pile,  then  walk  away. 

Scene  34.  C.  U.  Pile  of  aluminum  showing  sign  and  com- 
pleted   stretchers   again. 

Scene  35.    C.  U.  Furnace  red  hot. 

Scene  36.  C.  U.  Pot  of  melted  aluminum.  Dipper  stirs 
it  around. 

Scene  37.    C.  U.  Dipper  pouring  aluminum  into  mold. 

Scene  38.    C.  U.  Taking  stretcher  leg  from  mold. 

Scene  39.  C.  U.  Completed  stretcher  legs  on  table  and 
more  being  placed  there. 

Scene  40.  M.  S.  Two  boys  working  at  lathe  turning  stret- 
cher arm. 

Scene  41.  C.  U.  Hand  working  on  one  end  of  stretcher 
arm. 

Scene  42.  M.  S.  Two  boys  take  arm  from  lathe  and  ex- 
amine it. 

Scene  43.  C.  U.  Drill  going  through  braces.  Small  pieces 
of  metal   flying  about. 

Scene  44.  C.  U.  Hands  putting  bolt  in  to  hold  braces  to- 
gether. 

Scene  45.     C.  U.  Hand  hammering  rivet  in  braces. 

Scene  46.     C.  U.  Girl  unrolling  stretcher  canvas. 

Scene  47.    C.  U.  Girl  measuring  with  yardstick  on  canvas. 

Scene  48.    C.  U.  Girl  cutting  canvas. 

Scene  49.     C.  U.  Girl  folding  and  creasing  hems  in  canvas. 

Scene  50.  C.  U.  From  over  girl's  shoulder,  two  shots  of 
canvas  being  sewed  on  power  machine. 


We  are  pleased,  as  our  readers  will  be,  at  the  re- 
appearance of  "The  Question  Box"  in  this  issue.  It 
will  be  conducted  by  Donald  A.  Eldridge,  as  successor 
to  Godfrey  Elliott  who  joined  the  Army  Air  Forces 
last  September.  Mr.  Eldridge  is  Director  of  Visual 
Instruction  in  the  New  Haven  Schools  and  has 
long  been  interested  and  active  in  the  making  of 
school-films.  We  are  fortunate  in  having  the  able 
continuance    of   "The    Question    Box"    thus    assured. 

Nelson  L.  Greene 


Scene   51.      C.   U.   Drilling   hole   in   wood   for   fastening   on 

braces. 
Scene  52.     C.  U.  Working  braces  to  check  them. 
Scene  53.      M.  S.  Three  boys  tacking  canvas  on  stretcher 

arms. 
Scene  54.     Hand  hammering  tacks  in  canvas. 
Scene  55.     C.  U.   Stretcher  opened  up,  showing  stencil  of 

Red  Cross  on  it. 
Scene  56.     M.  S.  Row  of  completed  stretchers.     Boy  places 

another   in   row. 
Scene  57.     M.  S.  Student  carrying  completed  stretcher  out 

of  shop  and  placing  it  in  Red  Cross  station  wagon. 
Scene  58.     M.  S.  Another  student  doing  same  as  scene  57. 

Question  Box  on  School  Film  Production 

Question:  For  some  time  now  we  have  been  discussing 
the  possibility  of  producing  a  film  based  on  our  school 
activities,  and  have  just  reached  the  point  where  we  can 
make  definite  plans  for  this,  due  to  the  kind  interest  of 
an  amateur  movie-maker  of  our  community  who  has 
offered  to  underwrite  our  first  production.  However,  we 
have  heard  rumors  that  all  16  mm  film  has  been,  or  is 
about  to  be  "frozen,"  and  consequently  we  are  hesitant  to 
procede  with  our  plans.  Can  you  either  "spike  that  rumor" 
or  confirm  it?  Under  the  circumstances,  what  would  you 
advise   us   to  do? 

Answer:  Last  spring  there  was  a  report  that  public  sale 
of  16mm  film  would  be  halted  by  December,  1942.  As  this 
is  written,  however,  this  "freeze"  is  not  yet  quite  com- 
plete, although  the  supply  is  definitely  and  drastically 
curtailed.  By  October,  most  film  dealers  had  been  cut 
to  7%  of  their  1941  quotas,  and  this  is  still  in  effect  in 
December.  This  means  that  dealers  whose  normal  sales 
were  small  in  volume  now  have  shelves  which  are  nearly 
if  not  entirely  bare.  One  dealer  we  know  has  been  wait- 
ing for  several  weeks  not  only  for  his  last  film  order  to 
come  through,  but  for  assurance  from  the  manufacturer 
that  it  will  be  filled.  Yet  casual  inquiries  have  revealed 
dealers  who  still  have  several  hundred  feet  of  16mm  film 
of  most  types  in  stock,  though  they  are  not  expecting  to 
have  it  very  long. 

Thus,  the  best  advice  we  can  give  you  is  to  consult 
your  local  dealer  or  dealers  immediately.  (It  might  be 
wise  in  your  case  to  have  your  "benefactor"  do  this  for 
you  since,  if  he  has  had  a  sizable  account  in  the  past,  he 
may  be  on  the  dealer's  "preferred  list."  For  we  suspect 
that  in  some  cases  the  last  few  reels  of  film  may  be  doled 
out  on  a  basis  similar  to  that  used  by  some  grocers  in 
disposing  of  their  last  precious  packages  of  coffee  a  few 
weeks  ago.) 

In  any  event,  you  should  certainly  estimate  the  amount 
of  film  to  be  needed  as  accurately  as  possible,  and,  if  you 
are  certain  of  completing  your  production,  you  should  buy 

{Concluded  on  page  24) 


January,   1943 


Page  23 


Your  Country 

Needs  the  Help 

of  Your 

PROJECTOR! 


NEW 


FILM050UND 


This  new,  compact,  precision-built  projector  has  every  feature  required 
for  finest  reproduction  of  16mm.  sound  and  silent  motion  pictures. 
It  is  a  typical  Bell  &  Howell  engineering  achievement,  bringing  un- 
excelled B&H  performance  in  spite  of  restricted  use  of  critical  materials 
needed  for  war  production. 


NOTE    PLEASE 

Save  oid  lamps  —  re- 
turn them  througbyour 
dealer  or  direct  so  that 
the  bases  cart  be  re- 
used. This  saves  criti- 
cal war  materials. 


Keep  Your  Projector  in  "Trim" 

Bell  &  Howell  ModerQizatton  and  Reconditioning  Service 
enables  you  to  keep  your  Filmosound  or  Filmo  silent 
proiector  up  to  the  minute  and  in  tiptop  trim  at  small 
cost.  This  service  is  available  to  you  through  your  dealer 
or  direct  from  the  factory. 


KNOWLEDGE  is  power — and  the  more  Americans  learn 
about  the  war  through  motion  pictures,  the  sooner 
the  hour  of  Victory. 

In  schoolhouses  and  other  social  centers  throughout 
our  land,  projectors  are  running  films  that  help  us  win  the 
war,  and  prepare  us  for  the  peace  to  come.  Films  that  train 
civilian  and  soldier  alike,  and  soldier-to-be  also,  how  to 
work  and  to  fight;  films  that  help  keep  high  our  resolve 
that  the  free  way  of  life  shall  prevail. 

Those  projectors— jo»r  projectors — keep  them  running! 
Treat  them  well,  but  work  them  plenty.  Run  more  films 
that  fight  for  freedom. 

Never  before  have  there  been  so  many  important  and 
timely  films.  The  FILMOSOUND  LIBRARY  gives  you 
access  to  several  thousand,  discriminatingly  selected — 
on  rental  or  purchase  basis.  Use  the  coupon  below  for 
further  information,  or  write  us  in  detail  concerning  your 
film  needs. 


OUR  TOWN— Thorn- 
ton Wllder's  Pulitzer 
Prize  play  brought  to 
the  screen  as  a  "Ten 
Best"  selection.  Cut 
for  schtxd  use. 


<—  AIR  FORCE  and 
NAVY  FILMS-now 
available  for  prc- 
fliftht  and  prein- 
ductlon  hlith  school  train- 
ing courses. 

QOOFER  TROUBLE— this  Is  a 
British  ClTillan  Defense 
film  which  treats  a  grim 
subject  In  a  light  vein — 
but  drives  home  Its  point 
just  the  same.  More  than 
200  British  films  are  avall- 
^il>le  through  the  Filmo- 
sound Library.  Send  for 
sl>cclal  catalog. 


n 

1  '^"^^^^^^L^bpI^^h 

P^r'dl 

i\ 

f^^^^M 

"E"  FOR  EXCELLENCE— 
how  the  Army-Navy 
Award  for  extraordi- 
nary performance  Is 
won  and  presented  Is 
shown  by  this  one- 
reel  sound  film.  Serv- 
ice charge  50c. 


BUY  WAR  BONDS 

Belt  &  Kowill  CMMvy.  Clilcati;  Ntw  Tirk;  HellywiH;  WasklittBi.  D.  C;  Uidii.  Est  1117 


CIVILIAN  DEFENSE  — many 
films  on  this  subject,  to 
meet  vitally  Important  prob- 
lems of  mass  education. 


MOTION      PICTURE     CAMERAS     AND     PROJECTORS 


^^  PRECISION-MADE    BY 


BELL   &   HOWELL  COMPANY 
1817  Larchmont  Avenue,  Chicago,  III. 
Without  obllttation.  please  send  me,  free: 
(  )  Cataloii  of  British  f;ivilian  Defense  Films; 
(  )  Detailed  Information  on  new  Filmosound  Model  V; 
(  )  Details  on  new  films  from  Filmosound  Library  listed 
below. 


|l  Name.  . . 
1 1  Address. 
|l     City 


Page  24 


The  Educational  Screen 


IMOVIES 


TO    HELP  WIN 
THE    WAR! 


Outstanding  Anti-Axis  Features 
(16mm  Sound) 

"THIS     IS     THE    ENEMY"— The     Polish,     Yugoslav,     Russian     and 
Ukranian   people   in   combat   wilh   the    Nazi   forces, 

"THE   SPANISH    EARTH" — Ernest    Hemingways    great   anti-fascist 
documentary. 

"CHINA'S    400    MILLION" — Absorbing    and    timely    screen    story 
of  China's  epic    defense   againsf  Japanese    invasion, 

"CRISIS— THE     NAZI    WAY"— The    crisis     in     Sudetenland.    fhe 
Czech  preparations;   Hitler  propaganda   methods. 

"THE   LADY  VANISHES"— Exciting  drama   of  English  espionage. 

And  many  other  new  training  and   morale  films. 

Wn¥X^l?  for  New  Free  Catalog  TVtkW 

WW  M%M.M.M!j  "Movies  to  Help  Win  the  War"    iH^^t* 


BRnnDon  filhis 


1600  BROADWAY 
NEW  YORK  CITY 


the  entire  amount  immediately.  Remember  to  allow  a 
considerable  amount  for  "wastage,"  particularly  if  this  is 
your  first  film.  Experienced  school  film  producers  con- 
sider themselves  fortunate  to  get  away  with  as  little  as 
20%  wastage.  Alost  beginners  waste  closer  to  50%  if  they 
do  a  real  job  of  editing. 

In  this  connection,  it  seems  wise  to  reemphasize  the 
fact  that  the  amount  of  film  wasted  decreases  in  direct 
proportion  to  the  care  with  which  the  shooting  script  is 
prepared  and  the  thoroughness  with  which  the  action  is 
rehearsed.  With  film  at  a  premium,  you  owe  it  to  other 
movie  makers  in  your  community  to  take  every  precaution 
possible  to  pare  the  wastage  item  to  the  barest  minimum. 

If  your  local  dealer  cannot  supply  you,  you  might  try 
one  of  the  big  agencies  in  a  nearby  city.  In  doing  so,  be 
sure  to  specify  the  amount  of  film  you  want,  the  size, 
and  type.  Also,  a  check  enclosed  to  cover  the  amount  of 
the  order  might  be  a   factor  in  getting  results. 

(We'd  be  interested  in  hearing  of  the  results  of  your 
work.  And  incidentally,  if  you  locate  a  dealer  who  has 
just  hundreds  and  hundreds  of  feet  of  film  available, 
please  let  us  know;  we'll  probably  be  searching  for  film 
ourselves  one  of  these  days.) 

Question:  Perhaps  we  are  anticipating  trouble  which 
will  not  come,  but  we  want  to  be  prepared  for  the  worst,  and 
are  trjing  to  make  plans  for  giving  our  movie  makers  club 
something  to  do  when  our  present  supply  of  film  is  exhausted, 
as  it  will  be  when  we  finish  our  current  film  on  Our  Schools 
in  IVar-tiiiie.  We  have  maintained  a  rather  extensive  pro- 
duction schedule  for  the  past  two  and  a  half  years.  We  have 
a  few  newsreels  dating  back  as  far  as  1935,  and  would  hate 
to  have  to  cease  activity  now  or  in  the  future  because  of  a  lack 
of  film  to  work  with.  Can  you  give  us  some  suggestions 
as  to  things  we  could  do  if  we  should  be  unable  to  secure 
additional  film   in  the  future? 

Answer:  This  is  a  timely  question  which  is  a  logical 
supplement  to  the  preceding  one.  It  indicates  a  type  of  long 
range  planning  which  we  hope  is  being  practiced  by  school 
movie  clubs  generally,  for,  as  we  indicated  above,  16mm 
film  supplies  will  be  increasingly  difficult  to  procure  for  the 
duration  of  the  war. 

The  first  suggestion  which  occurs  to  us  is  an  obvious  one, 
and  probably  has  been  listed  by  you  already.  Since  you  ap- 
parently have  a  rather  extensive  library  of  films  produced 
in  your  school,  why  not  screen  them,  looking  for  sequences 
which  would  lend  themselves  to  a  common  theme — perhaps 
simply  a  historical   review  of  the  past  eight  years? 

This  sort  of  thing  has  been  done  commercially,  with  pro- 
ducers using  "clips"  from  their  films  of  the  past  decade  which, 
arranged  carefully,  give  an  effective  picture  of  the  changes 
in  history  during  this  period,  changes  which  are  given  new 
significance  as  illuminated  in  the  light  of  today's  war  condi- 


tions. Surely  there  must  be  scenes  in  your  earlier  school 
films  which  show  changes  which  have  occurred  in  styles  of 
dress,  hair-do's,  dancing,  curriculum,  faculty  and  administration, 
and  various  classroom  as  well  as  extra-curricular  activities. 
Perhaps  you  could  shoot  a  few  extra  scenes  while  making 
your  current  film  on  the  adjustments  your  school  has  made 
to  the  demands  of  war,  with  the  idea  of  using  them  for  con- 
trast and  to  l)ring  the  continuity  up  to  the  moment. 

Of  course,  objections  may  be  raised  that  cutting  sections 
from  tlie  older  films  will  impair  their  historical  value  as 
individual  documents.  If  this  is  really  important,  it  would 
in  most  cases  be  possible  to  "borrow"  the  desired  scenes  and 
splice  them  together  long  enough  to  present  a  few  special 
showings,  or.  if  you  use  the  negative,  and  if  there  is  enough 
slock  available  to  the  laboratory  to  make  a  print,  you  might 
have  a  copy  made.  Then  you  could  re-splice  the  sections 
into   their  original    places. 

If  this  is  done,  it  would  be  helpful  to  insert  a  short  strip 
of  white  leader  film  in  place  of  each  section  removed.  By 
numbering  these  white  strips  consecutively,  and  keeping  a 
careful  record  of  where  each  corresponding  section  of  film  i? 
inserted  in  the  composite  reel,  the  business  of  reconstructing 
the  original  reels  would  be  relatively  simple,  though  time- 
consuming,  to  be   sure. 

fn  a  future  issue  icv  zvould  he  glad  to  suggest  a  few 
specific  types  of  treatment  zchich  might  he  given  to  such 
composite  rc-editions.  Better  yet,  we  ivill  offer  this  column  as 
a  medium  through  xvhich  all  movie  producing  groups  can 
"pool"  their  resources  of  plans,  experiments,  and  experiences 
in  this  sort  of  thing.  Send  in  your  report  in  any  form  you 
wish — outline,  synopsis,  or  sample  script — zvhatevcr  is  easiest 
for  you.  We  ivill  attempt  to  summarize  these  in  such  a  Tvay 
as  to  anticipate  potential  questions  on  this  problem,  to  the 
mutual  benefit  of  all  concerned.  Doxald  A.  Eldridge 

Department  of  Visual  Instruction 

{Concluded  from  page  19) 

Metropolitan  Ne'w  York  Branch  Program 

Tlie  .secdiul  jjrdgrain  in  a  scries  on  "War  and  the 
Schools,"  held  Deceinlier  1  by  the  Metropolitan  New 
New  "^'ork  Branch  of  Zone  II.  attracted  an  attendance 
of  approximately  500.  Since  the  theme  of  this  program 
was  "Pan  .\nierican  Relations."  films  from  the  Office 
of  the  Coordinator  of  Inter-American  Affairs  were  fea- 
tured. Those  sliown  were  "Colombia,  the  Crossroads 
of  America."  "Mexican  Moods,"  "High  Over  the 
Border"  (in  Spanish),  "Argentine  Primer."  Speakers 
were  Miss  Regina  C.  Burke.  Associate  Superintendent. 
New  York  City  Schools,  and  Dr.  Henry  Hein,  Principal 
of  James  Monroe  High  School.  Miss  Rita  Hochheimer 
presided. 

Zone  VII  Meets 

Mr.  Boyd  B.  Rakestraw,  President  of  Zone  VII, 
reports  that  on  Monday,  November  16th,  the  Univer- 
sity of  California  Extension  Division  called  a  luncheon 
meeting  of  the  members  of  that  zone  for  the  purpose 
of  discussing  pro1)lems  concerning  the  availability  and 
distribution  of  government  fihns  with  the  representatives 
from  the  various  War  Information  Agencies. 

Miss  Barbara  Spendlove,  from  the  British  Informa- 
tion Office,  explained  the  film  .service  of  that  Office : 
Miss  Beverly  Le\y,  from  the  Pacific  House  in  San 
Francisco,  recommended  that  organization  as  a  source 
of  film  material  on  Latin  America,  and  Mr.  Clark 
Gallowa}-  from  the  State  Council  of  Defense,  discussed 
"\'isual  Instruction  and  the  Office  of  Civilian  Defense." 

The  meeting  afforded  an  opportunity  to  exchange 
ideas,  and  suggestions  as  to  cooperation  with  these  film 
sources  and  agencies  in  securing  satisfactory  distribu- 
tion of  government  subjects. 


January,   1943 


Page  25 


KEYSTONE  Follows  the 


Up-to-Date  Needs  ol  Education 

Despite  the  overwhelming  military  needs  of  today,  schools  have  the 
obligation  of  preparing  the  pupils  of  today  for  the,  perhaps,  more  over- 
whelming demands  of  tomorrow. 

In  this  obligation  what  is  more  important  than  to  familiarize  students 
with  our  outposts  and  our  friendly  and  allied  neighbors? 

Keystone  offers  units — 25  stereographs  or  25  lantern  slides  to  each 
unit — as  follows: 


OUR  OUTPOSTS 

19A  Hawaii 


19B  Alaslta 


19C  The  Philippines 


<           '"-'^^^^Kt. 

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r:   "^ 

0-    -.^ 

2i 

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^-- WHm^^mi^^^^^!^^^ 

"o 

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fl 

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^H 

2.3 

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g: 

^^^^1 

OUR  FRIENDLY  AND  ALLIED  NEIGHBORS 


{Un]ii  published  }n  recent  years.) 
No.  20     Our  Neighbors  in  Eastern  Canada  No.  23     Living  in  the  Caribbean  Lands 

No.  21      Our   Neighbors  in  Western  ^°-  ^^     I^«  East-Coast  Countries  of  South 

-  America 

No.  25     The   West-Coast    Countries   of    South 
Anierica 

(Units  publlshatl  very  recenffy.) 


and  Northern  Canada 
No.  22     Our  Mexican  Neighbors 


No.  22A     Cuba  and  the  West  Indies 
No.  23A     Central  America 
No.  25A     Venezuela,    Colombia,   Trinidad, 
Curacao,  and   the  Guianas 


No.  25B  Brazil 

No.  25C  Argentina,  Uruguay,  and  Paraguay 

No.  25D  Peru  and  Ecuador 

No.  25E  Chile  and   Bolivia 


Title    Lists   and   Other   Additional   Information    Will   Be  Sent   upon   Request 

Keystone   View  Company 

Meadville,    Penna. 


Page  26 


The  Educational  Screen 


r 


SEND  FOR  OUR 


1 


NEW  1943  CATALOG! 

Free  Government  War  Information  Films 
Free  Industrial  Subjects  in  Technicolor 

More  than  250  features  and  hundreds 
of  short  subject*  ...  16  n>m  Sound 

SWANK  MOTION  PICTURES 

620  N.  Skinker  Blvd.  St.  Louis,  Mo: 


Utilizing  the  School-Made  Film 

(Concluded  from  page  13) 

passedJ  As  Martin  so  aptly  puts  it  "When  the  paying 
public  is  correctly  informed  as  to  the  activities  and 
functions  of  the  local  school  system,  the  chances  will  be 
greatly  reduced  that  the  local  tax  adjustment  board  will 
remonstrate  to  the  supposedly  high  tax  rate  in  the 
budget  for  school  purposes."* 

7.  To  Demonstrate  The  Part  Our  Schools  Are  Play- 
ing In  The  Fight  For  Victory.  Do  the  people  of  your 
community  realize  the  essential  part  the  schools  are 
playing  in  the  war  effort  ?  Show  'em  with  a  film.  Make 
it  a  film  which  carries  a  punch.  Such  a  film  has  re- 
cently been  produced  by  the  Illinois  Education  Asso- 
ciation, entitled  Backing  Up  The  Guns.^  It  pictures 
the  fine  work  of  the  schools  in  training  workers  for  war 
industries,  in  turning  out  citizens  who  are  physically 
fit  and  mentally  awake.  It  shows  how  the  schools 
stand  as  the  great  bulwarks  of  democracy  by  passing 
on  to  the  generations  of  youths  passing  through  their 
portals  our  great  heritage  of  freedom.  This  is  not  the 
usual  soft,  wishy-washy  series  of  scenes  of  boys  and 
girls  playing  at  life,  but  shows  that  youth  and  their 
schools  are  doing  their  part.  Students  will  be  glad  to 
be  seen  in  this  type  of  film  and  their  parents  will  be 
glad  to  see  them  in  it.  Theatres  will  gladly  accept  this 
film  for  its  audiences  (a  short  6  minute  35mm  version 
of  Backing  Up  The  Guns  has  been  made  available  for 
theatrical  use)  for  it  is  a  morale  builder  of  the  highest 
order. 

8.  To  Orient  The  New  Student.  One  of  the  most 
effective  uses  of  the  school  film  Seeing  ^tate,  showing 
the  activities  of  the  State  Teachers  College,  Paterson, 
N.  J.,  was  in  its  presentation  as  a  part  of  the  "Freshman 
Week"  program.  In  fifteen  minutes  the  incoming 
freshmen  gained  an  idea  of  the  scope  of  activities  open 
to  them  and  of  the  spirit  of  the  school  in  which  they 
were  to  bedome  active  participants.  Similarly  a  school 
made  film  was  used  at  the  Milne  School,  Albany,  N.  Y., 
to  acquaint  the  new  seventh  graders  with  their  chosen 
secondary  school. 


7.  Idem,  p.  100. 

8.  Martin,     Norval,    L.,     "Interpreting    the     Public   Schools 
Through   Motion  Pictures,"  Educational  Screen,  May,   1939 

P.  152. 

9.  For  a  review  of  Behind  the  Guns  see  Educational  Screen 
for  October,  1942.     P.  308. 


9.  To  Recruit  Students.  Again  on  the  college  level, 
or  for  the  private  school,  the  school  film  may  be  used 
to  present  the  program  of  the  school  to  prospective 
students.  The  Paterson  State  Teachers  College  film, 
referred  to  above,  was  used  during  guidance  weeks  in 
high  schools  to  show  the  young  graduate  the  advan- 
tages and  facilities  which  this  college  offered. 

10.  To  Stimulate  Others.  The  school  film  may  be 
loaned  to  other  communities  to  serve  as  a  source  of 
new  ideas,  for  comparison,  or  to  inspire  student  effort. 
If  a  school  film  attempts  to  interpret  aspects  of  the  en- 
vironment, other  schools  may  find  these  films  useful 
teaching  material.  Denver  reports  that  their  school- 
made  films  are  used  by  many  schools  outside  of  Denver 
because  "they  are  the  only  available  films  covering  these 
aspects  of  community  life,  organized  in  terms  of  a 
community."'" 

11.  At  Educational  Conferences.  Good  school  films 
may  be  used  at  educational  conferences  to  illustrate 
reports  of  school  work  or  to  serve  as  discussion  ma- 
terial for  phases  of  school  philosophy. 

12.  In  College  Educational  Classes.  The  instructors 
in  education  at  teachers  colleges  and  normal  schools 
welcome  school  films  as  documentary  evidence  of  the 
principles  and  theories  which  are  discussed  in  their 
classes.  The  Milne  High  School  film,  referred  to  above, 
is  used  each  year  in  the  general  education  classes  at  the 
New  York  State  College  for  Teachers,  Albany,  N.  Y. 

13.  For  Curriculum  Study.  The  curriculum  com- 
mittee in  the  local  school  system  or  in  other  schools 
may  profitably  examine  school  films  for  evidence  of 
curriculum  building  principles. 

14.  E.vtra-Curricnlar  Activities  Committee  Study. 
The  extra-curricular  activities  committee  may  well 
examine  the  school  newsreel  for  aid  in  evaluating  its 
program. 

15.  In  The  Speech  Department.  The  school-made 
sound  film  may  be  used  by  the  speech  department  as 
first-class  material  for  comment  and  criticism  of  local 
speech  habits.  Silent  films  may  be  utilized  by  having 
students  write  and  deliver  the  film  commentary. 

16.  English  Classes.  The  English  classes  may  use 
the  films  as  the  source  for  theme  material,  and  for  the 
study  of  the  film  as  a  form  of  composition. 

17.  Social  Studies  Classes.  The  film  may  be  shown 
several  times  during  the  school  year  in  assemblies  or  in 
individual  classes  as  a  means  of  acquainting  the  students 
with  the  services  available  in  their  own  school,  the 
people  who  serve  the  school,  and  to  introduce  discus- 
sion on  home,  community,  and  school  relations. 

18.  The  Film  As  a  Form  of  Art.  Art  classes  may 
use  the  film  to  study  composition.  The  photography 
club  may  learn  a  great  deal  by  critically  examining  the 
scenes  in  the  school  film  for  focus,  angles,  and  the  like. 

19.  As  Historical  Documents.  Finally,  the  films 
which  were  made  last  year  and  the  year  before  that  are 
still  valuable  as  historical  documents.  Scenes  from 
these  films  may  be  used  in  making  an  historical  short. 
This  film  should  show  not  only  the  improvement  in 
educational  method,  but  also  improvement  in  school 
motion  picture  techniques. 


10.  Brooker  and  Herrington,  Op.  Cit.  P.  17. 


January,  1943 


Page  27 


Experimental  Research 

in  Audio- Visual  Education 

By  DAVm  GOODMAN 

TITLE:  .  AN  EXPERIMENTAL  STUDY  OF  THE 
EFFECTIVENESS  OF  MOTION  PICTURES  IN 
TEACHING  GENERAL  SCIENCE 

Investigator:    W.  Kenneth  Baker 

For  the  degree  of  Master  of  Arts,  completed  1940 — Wit- 
tenberg College. 

First  Experiment 

Objectives 

The  specific  aims  were  (1)  to  determine  the  value  of  the 
motion  picture  in  helping  the  pupils  to  acquire  factual  in- 
formation and  (2)  to  determine  whether  silent  films  or 
sound  films  are  the  more  effective. 

Procedure 

In  this  experiment  the  technique  used  in  presenting  the 
motion  pictures  was  the  one  the  author  believed  to  be  most 
commonly  employed  by  teachers  using  motion  pictures  as 
a  teaching  device.  The  films  were  simply  shown  without 
anything  being  done  to  prepare  the  pupils  for  the  films. 
They  were  shown  at  a  time  when  it  seemed  they  would  do 
the  most  good.  While  the  films  were  being  shown  very 
little  was  added  by  the  instructor  in  the  way  of  oral  com- 
ments. The  value  of  showing  the  films  to  one  group  of 
students  was  compared  to  the  value  of  an  equal  amount  of 
time  being  spent  by  an  equivalent  group  of  students  in 
working  on  workbook  exercises  and  in  reading  reference 
material. 

Results 

The  results  obtained  in  this  experiment  seem  to  indicate 
that  in  some  instances  films  are  slightly  more  effective  than 
a  study  period,  while  in  other  cases  there  is  little  or  no 
difference.  On  the  average,  the  sound  films  seemed  to  be 
slightly  more  effective  than  silent  films.  These  results 
further  indicate  that  educational  motion  pictures  should 
occupy  a  place  among  the  instructional  devices  used  in 
teaching  general  science  and  that  the  particular  film  tech- 
nique used  in  presenting  the  films  in  this  experiment  was 
ineffective. 

Second  Experiment 

Objectives 

The  specific  aims  were  (1)  to  determine  the  value  of 
motion  pictures  in  helping  the  pupils  to  acquire  factual  in- 
formation; (2)  to  determine  the  value  of  motion  pictures 
in  helping  the  pupils  to  understand  scientific  principles; 
(3)  to  determine  the  value  of  motion  pictures  in  helping  the 
pupils  to  make  practical  application  of  the  facts  and  prin- 
ciples studied;  (4)  to  determine  the  value  of  silent  motion 
pictures  as  compared  to  sound  motion  pictures;  and  (5)  to 
determine  whether  or  not  there  is  a  progressive  gain  as  the 
number  of  films  used  increased. 

Procedure 

A  definite  film  technique  was  developed  and  used  in  this 
experiment.  In  every  case  the  content  of  the  motion  pic- 
ture film  was  correlated  with  the  subject  matter  studied. 
Anything  studied,  which  was  included  in  the  film  to  be 
shown  later,  was  carefully  pointed  out  and  the  pupils  were 
instructed  to  watch  for  this  in  the  film.  In  this  manner 
the  instructor  tried  to  use  the  film  to  interest,  stimulate  and 
motivate  the  pupils  in  their  work.  At  the  conclusion  of 
the  study  the  motion  picture  which  had  been  correlated  with 
the  subject  matter  just  completed  was  shown  as  a  sum- 
mary. The  pupils  were  required  to  write  a  summary 
paragraph  on  each  film  and  to  hand  it  in  on  the  day  follow- 
ing the  showing  of  the  film.  The  value  of  showing  films 
to  the  one  group  of  students  in  the  manner  just  described 
was   compared  to   the   value   of  an   equal  amount   of  time 


HISTORICAL 

FEATURES  and  SHORTS 

in  16  mm.  Sound 

COUNT  OF  MONTE  CRISTO 


CATHERINE  THE  GREAT 

with  Douglas  Fairbanks,  Jr.  and  Elizabeth  Bergner 


PRIVATE  LIFE  OF  HENRY  YIII 

with  Charles  Laughton,  Merle  Oberon,  Gertrude  Law- 
rence, Robert  Donat,  Binnie  Barnes. 


THE  SCARLET  PIMPERNEL 

vith  Leslie  Howard  and  Merle  Oberon 


RETURN  OF  THE  SCARLET  PIMPERNEL 


The  following  series  of  historical  shorts  have  been  pro- 
duced with  a  new  technique  using  famous  works  of  art 
including  sculpture  and  landscape. 

English  Monarchs 

HENRY  VIII  EDWARD  VI 

MARY  TUDOR  ELIZABETH 

Famous  Women  of  History 

One  Reel  Each 

JOAN  OF  ARC 

CLEOPATRA 

CLEOPATRA  and  ANTHONY 

BOADICEA  DELILAH 

QUEEN  OF  SHEBA 

Send  for  Catalog  of  2500  Enferfafnmenf  and  Edu- 
cafional   Subleets    avallablo   for  rontal  and  safe. 


25  W.  4Sth  St. 


Dept.  E-1 


■J1.JI.I.IMB 

New  York 


being  spent  by  an  equivalent  group  of  students  in  an  oral 
teacher-pupil  summary. 

Results 

The  results  indicate  that  the  motion  pictures  used  in  this 
experiment  were  more  effective  than  the  oral  teacher-pupil 
summary  in  teaching  factual  information,  in  helping  the 
pupil  to  understand  the  scientific  principles  studied  and  in 
helping  the  pupils  to  apply  the  facts  and  principles  studied. 
The  difference  between  the  film  group  and  the  non-film 
group  was  not  quite  great  enough  to  establish  definitely  the 
superiority  of  the  film  group  as  being  the  result  of  the 
educational  motion  pictures,  but  the  statistical  significance 
of  the  difference  was  great  enough  that  such  a  conclusion 
seems  highly  probable.  There  was  nothing  in  these  results, 
however,  which  would  indicate  a  superiority  of  silent  films 
over  sound  films,  or  vice  versa.  The  results  gave  no  indica- 
tion that  there  was  a  progressive  gain  on  the  part  of  the 
pupils  as  the  number  of  films  they  had  seen  increased. 

Conclusions 

From  this  study  the  conclusion  seems  justifiable  that  the 
technique  employed  in  the  second  experiment  is  effective 
and  that  the  indiscriminate  showing  of  films  in  the  class- 
room contributes  little  or  nothing  to  the  learning  process. 


Page  28 


The  Educational  Screen 


^kz  J^itzxatuxz  in  ^  l/iiuai  IJn±t%uction 


A    Monthly    Digest 


Conducted    by    ETTA     SCHNEIDER 


ADMINISTRATION 

The  Use  of  Educational  Film  Libraries  in  the  Distribution 
of  War  Films — L.  C.  Larson,  Chairman,  Educational  Film 
Lending   Library   Committee,   Indiana   University — Film  and 
Radio  Discussion  Guide,  9:103  November,  1942. 
The  accelerated  output  of  16  mm.  films  by  government  agen- 
cies  indicates   the   need   for    some    standardization   of   practice 
among  film  distributors.     At  a  meeting  of  representatives  from 
such  libraries  and  government  agencies  in  January,  1942  it  was 
pointed  out  that  the  approximately   100   film   libraries,  located 
in  14  states,  are  serving  about  18,000  sound  projectors  in  schools 
and  communities. 

The  Educational  Film  Lending  Library  Committee  consists 
of  6  representatives  from  educational  non-profit  film  lending 
libraries.  This  Committee  has  the  power  to  allocate  quantitively 
the  deposit  of  free  prints  with  member  libraries,  and  when 
necessary  to  re-allocate  such  deposited  prints  to  obtain 
maximum  use.  It  recommended  that  government  films  be 
deposited  free  in  educational  libraries  to  be  distributed  for  a 
service  charge  of  50c  per  subject,  plus  transportation,  to  be 
paid  by  the  borrower. 

The  reconunendations  of  the  Educational  Film  Lending  Lib- 
rary Committee  which  were  adopted  and  approved  by  the  Na- 
tional University  Extension  .Association  at  a  joint  conference  in 
Washington  on  October  6,  1942  are  then  reprinted. 

From  a  questionnaire  recently  analyzed  from  103  returns,  it 
has  been  estimated  that  if  all  libraries  approve  the  recom- 
mendations of  the  Committee,  165  prints  of  each  subject  will  be 
needed  to  provide  each  with  the  minimum  number  of  prints 
according  to  its  classification  (volume  of  bookings).  The  min- 
imum total  audience  thus  reached  would  be  1,500,000;  the 
maximimi  3  million.  Some  such  standardization  of  procedure 
would  eventually  save  nuich  money  on  films  and  film  damage 
and  would  get  the  maximum  distribution  and  optimum  utiliza- 
tion of  government  films. 

UTILIZATION 

Film  Utilization  Guide — compiled  by  the  University  of 
Michigan  Bureau  of  Visual  Education,  F.  L.  Lemler,  in 
charge.  726  pp.  1942.  $2.00  to  mmbers  of  the  University  of 
Michigan   film    service,   $2.75    to   non-members. 

The  University  of  Michigan  Bureau  has  compiled  this  guide 
to  assist  the  classroom  teacher  (1)  in  the  selection  of  films 
which  will  more  accurately  serve  particular  teaching  needs, 
and  (2)  in  making  film  utilization  more  purposeful  and  ef- 
fective. 

Included  among  the  specifics    for  each   film   are : 

1.  A  somewhat  complete  synopsis  of  the  film  content  so 
written  as  to  suggest  the  general  impression  given  by 
the  film  itself. 

2.  An  indication,  at  least,  of  the  general  maturity  range 
within  which  it  should  be  possible  to  use  the  film  ef- 
fectively. 

3.  Some  reported  uses  or  utilization  of  the  film  in  tradi- 
tional school  subjects. 

4.  Some  reported  teaching  objectives  which  the  film  can  help 
achieve. 
5.  Some  teacher  comments  which  should  have  significance  to 

other  teachers  for  intelligent  utilization. 
Utilization  or  evaluation  data  for  650  University  of  Michigan 
films  are  included  in  the  Guide,  a  page  of  valuable  informa- 
tion for  each  film.  This  book  is  the  culmination  of  several 
years'  efforts  in  compiling  evaluation  data  for  films  and  in- 
cludes the  information  supplied  by  Michigan  schools  cooper- 
ating in  a  state-wide  evaluation  program.  Appraisal  has  been 
made  on  the  basis  of  cumulative  reports  of  actual  classroom 
experiences  with   films. 


A  Program  of  Visual  Education  for  Conservation  of  Tide- 
water Fisheries — Hubert  J.  Davis,  Mathew-Whaley 
School  and  Virginia  Fisheries  Laboratory — Virginia  Journal 
of  Education,  36:76  October,  1942. 

The  Virginia  Fisheries  Laboratory  of  the  College  of  William 
and  Mary,  and  the  Commission  of  Fisheries  have  prepared  an 
educational  jirogram  for  high  school  use.  There  is  a  mobile 
exhibit  on  marine  fisheries,  a  teaching  unit  on  the  biology 
of  commercial  fisheries ;  three  films  on  marine  biology  and 
fishing  practices  in  Virginia,  and  a  service  bureau  for  additional 
information. 

There  is  a  demonstration  unit  made  up  of  principal  commercial 
fin-fishes  of  Tidewater,  the  oyster  and  its  enemies,  etc.  Marine 
shells  and  miscellaneous  forms  sucli  as  jellyfish,  starfish, 
octopus  and  sting  ray  are  included.  Many  flat  pictures  of  com- 
mercial fishing  practices  are  also  circulated.  A  trained  marine 
biologist  takes  this  unit  from  school  to  school,  making  it 
available  to  each  for  2  or  3  days.  Parent-Teacher  groups  also 
use  the  exhibit. 

The  teaching  unit  on  marine  fisheries  resources  makes  pro- 
vision for  three  lessons :  one  on  the  oyster,  one  on  the  crab, 
and  one  on  other  marine  forms.  The  films  are  available  in 
color  or  black-and-white,  16mm.  silent.  Address  inquiries  about 
these  materials  to  the  Director  of  Virginia  Fisheries  Laboratory, 
Williamsburg,  Virginia. 

RADIO 
Radio  Is  Dynamite! — Elizabeth  Goudy,  Director  of  Radio, 

Los  .'Kngcles  County  Schools — -The  Clearing  House,  17:71 

Oct.  1942. 

Governor  Berkeley  of  Jamestown,  Virginia  is  quoted 
as  having  said,  in  1680,  "I  thank  God  there  are  not  free 
schools  or  printing  here  and  I  hope  we  shall  not  have  them 
these  100  jears."  He  would  express  even  greater  fear 
today  over  the  radio,  which  with  924  stations  and  60  million 
sets  reaches  practically  every  household  in  the  United 
States. 

Children  listen  to  the  radio,  many  get  their  news  only 
from  news  commentators.  Teachers  should  undertake  to 
teach  them  to  discriminate.  The  Los  Angeles  County- 
Radio  Project  publishes  pertinent  information  on  educa- 
tional programs.  For  example,  it  lists  in  its  Radio  Log  36 
news  broadcasts  a  day,  at  least  two  each  hour  of  the  day. 
In  addition,  there  are  many  news  commentators,  govern- 
ment-sponsored current  talks  by  O.W.I,  and  other  agencies; 
speeches  by  congressmen  and  other  government  represen- 
tatives. Students  must  be  helped  to  sift  information  from 
propaganda  talks;  to  ascertain  whether  radio  today  is  really- 
free,  whether  we  are  getting  a  true  picture  of  .'Vmerica. 
Teachers  should  help  students  to  get  the  most  from  their 
radio  listening. 

BOOK  REVIEW 

Participation  the  Last  Word  in  Films — Bruce  Allyn  Findlay, 

Head  Supervisor  of  Visual  Education,  Los  Angeles  City 

Schools.    1942.    36  pp. 

This  recent  publication — officially  known  as  "School 
Publication  No.  384,  Los  Angeles  City  Schools," — is  any- 
thing but  a  "run  o'  the  mill"  achievement.  Evidently  a 
serious  educational  publication  need  not  be  stuffy,  stodgy 
or  stilted,  in  title,  format  or  contents.  With  gay  red  cover, 
distinctive  typography,  and  a  layout  that  takes  full  advan- 
tage of  the  eye-pleasing  values  of  white  space,  "Participa- 
tion the  Last  Word  in  Films"  is  refreshing  as  well  as 
thought-provoking  to  the  reader,  and  a  stimulus  to  film- 
makers and  film  users. 

This  booklet  aims  to  explain — to  quote  from  Superin- 
tendent Kersey's  Foreword — "why  and  how-  teaching  tech- 
niques can  and  should  be  included  in  instructional  films." 


Kansas  City,  thh 


January,   194} 


Page   29 


The  author  first  discusses  the  "why"  of  using  motion  pic- 
tures and  declares  that  Observation-|-Participation-|-Appli- 
cationr=Learning  for  "Keeps."  Then  comes  the  "how"  of 
teaching  procedures  to  develop  these  functions.  The 
rightly  made  film  can  do  much  to  help;  the  teacher  can  do 
vastly  more.  "A  great  opportunity  for  the  educator  lies 
in  the  fact  that  he  can  build  excellent  teaching  tech- 
niques into  instructional  films."  The  little  book  is  full  of 
concrete  suggestions  for  better  film-production  and  better 
teaching  procedure. 

A  multiplicity  of  short  paragraphs  and  epigrammatic 
sentences  make  not  only  for  fast  reading  but  fruitful  re- 
flection. It  is  more  provocative  than  txpositional,  low  in 
word-count  but  high  in  fertile  suggcstiveness.  There  may 
be  those  who  will  find  the  brochure  too  terse,  too  uncon- 
ventional, with  "more  cleverness  than  substance."  But  it 
is  intended  as  a  stimulus  rather  than  a  detailed  manual  of 
procedure,  it  is  perhaps  a  "percussion  cap"  for  the  read- 
er's powder  charge."  \.  L.  G. 

SOURCES  OF  INFORMATION 

Bibliography  of  Motion  Pictures  for  Vocational  and  Tech- 
nical Schools — Compiled  by  Gilbert  G.  Weaver,  Super- 
visor of  Industrial  Teacher-Training.  State  Education 
Department,  Albany,  N.  Y.— The  Hamilton  Co.,  225 
Lafayette  St.,  New  York,  N.  Y.  329  pp.  (8'  .xll)  mimeo. 
1942.     $2.50. 

The  compilation  is  a  helpful  supplement  to  tlie  bulletin,  Prac- 
tical Hints  for  the  Use  of  Motion  Picture  Films  in  Vocational 
and  Technical  Education,  reviewed  in  this  column  in  the 
Xovembtr  issue.  Its  2000  listings  include  motion  pictures,  film- 
strips  and  standard  lantern  slides.  The  field  of  vocational 
and  technical  education  has  been  broadly  interpreted  to  include 
such  topics  as:  Aeronautics,  Agriculture,  Automotive  In- 
dustry, Ceramic  Industry,  Chemical  Industry,  Clothing 
and  Textiles,  Construction  and  Building,  Education,  Elec- 
trical Industry,  Food  Industry,  Fur  and  Leather  Industries, 
Lumber  and  Lumber  Products,  Manufacturing,  Materials  of 
Industry  and  Engineering.  Mining,  Photography,  Power  Pro- 
duction, Printing  and  -Mlied  Industries,  Rubber  Products, 
Safety,  Sanitation  and  Health,  Science  and  Technology,  Sell- 
ing and  Distributing,  Transportation.  About  250  pages  of  the 
volume  are  devoted  to  listings  of  motion  pictures ;  the  re- 
mainder of  the  book  lists  slides  and  filmstrips.  There  are 
brief  annotations  for  each  title,  but  no  attcmm  at  evaluation. 

Resource   Units  for  Teachers  in  Pre-Flight  Aeronautics — 

Prepared  by  the  Workshop  in  Pre-Flight  Aeronautics, 
University  of  Minn.,  Summer,  1942 — Burgess  Publish- 
ing Co.,  426  So.  Sixth  St.,  Minneapolis,  Minn.  78  p. 
mimeo.  $1.25. 

The  materials  included  in  this  bulletin  were  assembled 
and  tried  by  the  sixty  teachers  and  school  administrators  in 
the  pre-flight  aeronautics  for  secondary  schools  workshop 
during  the  summer  session  of  1942.  Many  of  the  materials 
and  the  suggested  procedures  were  used  with  the  high  school 
students  at  the  University  High  School. 

."Kviation  has  been  divided  into:  social  studies  aspects, 
aerodynamics,  engines,  navigation  and  meteorology.  For 
each  of  these  topics  the  editors  have  prepared  very  helpful 
statements  of  content  and  method,  together  with  a  biblio- 
graphy of  (a)  books  and  pamphlets,  (b)  articles,  and  (c) 
films,  filmstrips  and  maps.  The  film  titles  are  very  new, 
including  official  Signal  Corps  subjects  and  others. 

Visual    Aids   for    Pre-Flight    Aeronautics    Education— (In 

Pre-Flight    .'Aeronautics    in    Secoiidarv    Schools,    Leaflet 
No.  63,  U.  S.  Office  of  Education,  1942,  p.  39-42) 
Includes   maps,  pamphlets,   films   and  other  materials  in 
the  field.     Arranged  according  to  distributors. 

Health  Films:  A  Descriptive  List  of  219  Motion  Pictures — 

Adolf  Xichtenhauser,  M.D.,  chairman.  Section  of  Health 
and    Medical   Films,   American    Film    Center,   45   Rocke- 
feller Plaza,  New  York  City— The  author.  Oct.  1942.  25c. 
The  list  includes  films  in  anatomy  and  physiology,  bac- 
teriology, blood  transfusion,  child  health,  child  study,  first 
aid,    nutrition    and    many    related    topics.      Each    title    has 
been  carefully  considered  from  the   medical  point  of  view. 


•  •  •  •  .-^sJ^i^* 

Approved 
PRE-FLIGHT, 

TRAIHING  FILMS  \ 

valuable  visual  teaching  aids  # 

now  ready  for  your  school  m 

FO«  AUOITOmUM   SHOWINGS   ft 

YOUTH  TAKES  TO  WINGS  (f 

frodu<md  with  the  Cooperation  of  j 

THE  FRANKLIN  INSTITUTE,  PHILA.,  PA.  i 

Endorttd  and  Approved  by  ||\ 

NATIONAL  AERONAUTIC  ASSOCIATION  h 

Exhibited  by  repretentativt   of  the  IC\ 

CIVIL  AERONAUTICS  ADMINISTRATION  ^ 

at  the  Educational  Conventioni  where  the  Pre-Flight  \m\ 

Training  Ceuriet  were  planned  \^ 

FOR   CLASSaOOM   USf    Vfj 

YOUTH  TRAINS  FOR  AVIATION 1    REEL  f 

METHODS   OF    FLIGHT 2   REELS  J 

ESSENTIAL   PARTS  and  TYPES  of   PLANES...  1    REEL  S 

AERODYNAMICS  -  PROPERTIES    of    AIR 1    REEL  W 

AERODYNAMICS  -  LIFT    1    REEL  ^G..^ 

AERODYNAMICS  -  AIR   RESISTANCE  \ 

ind    STREAMLINING    1    REEL  g 

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i^V^.si!^^^^'*^  (^efllill^^^K:,   <j^^.,^^5sss«^ 


"LAST  DAYS  OF  POMPEII" 

RKO 
Picture 

10  reels 
All  Talking 
with 

PRESTON   FOSTER 

and 
BASIL  RATHBONE 

Renfol,    $20 
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A  stupendous  re 
be  shown  in  all 

MANSE 

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llglous  and  historical  film.     Should 
schools  and  churches.  Order  from: 

FILM     LIBRARY 

CINCINNATI,    OHIO 

Page   30 


The  Educational  Screen 


SACRIFICE    SALE 


LARGE  FILM  LIBRARY 

These  are  classroom  films,  slightly  used — 
all  16  mm  silent — many  Eastman  subjects. 


Prices  as  low  as  $7.00  per  reel 

Send  for  group  lists  of  films,  as  General  Science,  Social 
Studies,  History,  etc.  in  which  you  are  interested,  or  send 
us   list    of   subjects   you    wish    to    purchase. 

We  will  quote  prices  and  send  prints  for  screening  to 
responsible  parties. 

Creative  Educational  Society 

MANKATO.    MINNESOTA 


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222  Oakridge  Blvd.,  Daytona  Beach,  FU. 


FATHER    HUBBARD    EDUCATIONAL    FILMS 

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Bring   the    NEWS   FRONT  to   your   Classroom.     United   States— Alaska— 

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Australia — New  Zealand — East   Indies — Singapore. 

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204  Empire   BIdg., 
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FREE  LOAN  LIBRARY 

of 

SELECTED  EDUCATIONAL 

SHORT  SUBJECTS 

{All  16  mm  Sound  Films) 
Effective  January   I,    l?43 


PROTECTION  AGAINST  GAS  WARFARE 

A  Civilian  Defense  35  mm  filmslide  comprising  80  fully  labeled, 
hartd-drawn  frames  for  Teachers,  Doctors  and  otheral  lecturing  on 
this  subject.  — —   --     -^       ,         ,  - 

$3.00  Postpaid 

VISUAL    SCIENCES         box  264E         SUFFERN,  n.  y. 


£071    an 


Winner  of  Maxim  Award 
For  Best  Non  Theatrical  Film 

One  of  the  best  indications  of  the  great  advancement 
and  improvement  in  non  theatrical  movie  making  is 
evident  in  the  quality  of  the  films  submitted  to  Movie 
Makers  magazine  for  its  annual  contest,  just  concluded. 
Significant,  too,  is  the  quality  of  films  sent  in,  which 
shows  the  tremendous  activity  in  the  substandard  film 
field.  It  indicates  that  private  industry,  educational 
institutions  and  the  public  at  large  have  at  last  become 
visual  education  minded,  for  among  these  pictures  sub- 
mitted were  many  films  aimed  at  specific  film  programs 
— for  instruction,  for  training,  for  advertising  and  pub- 
licity, as  well  as  for  entertainment. 

The  Hiram  Percy  Maxim  Award  for  the  best  non 
theatrical  of  1942  was  presented  to  George  W. 
Serebrykofl^,  of  New  York  City,  for  "Russian  Easter," 
a  16mm  film  record  of  the  celebration  of  Easter 
in  the  Russian  Orthodox  Church.  This  award  is  pre- 
sented each  year  by  Mrs.  John  G.  Lee  of  Farmington, 
Conn.,  in  honor  of  her  father,  the  founder  and  first 
president  of  the  Amateur  Cinema  League,  420  Lexing- 
ton Avenue,  New  York  City.  It  is  the  top  award  in 
Movie  Makers  Ten  Best  competition. 

"Russian  Easter"  is  all  in  Kodachrome  and  runs 
thirty-five  minutes.  It  is  a  sensitive  study  of  the  Russian 
religious  rituals,  together  with  intimate  scenes  of  a  fami- 
ly's preparation  for  the  feast,  pictured  against  a  back- 
ground depicting  the  awakening  and  rebirth  of  nature 
in  the  spring  of  the  year.  The  service  in  celebration  of 
the  Resurrection  as  paralleled  with  the  blossoming  of 
the  earth  forms  an  excellent  climax  for  this  unusual  film. 

High  School  Victory  Corps 

The  High  School  Victory  Corps  has  been  created 
to  give  every  high  school  student  a  place  in  the  national 
war  effort  through  a  voluntary  enrolment  plan.  Every 
student  may  join  the  general  membership  of  the  Corps. 
Those  within  two  years  of  completing  high  school  are 
eligible  to  any  one  of  the  following  five  special  service 
divisions :  Land  Service,  Sea  Service,  Air  Service,  Pro- 
duction Service,  Community  Service.  All  Superin- 
tendents of  schools  and  high-school  principals  have 
received  a  Manual  setting  forth  purposes,  objectives 
and  recommended  methods  of  organization  of  the  Vic- 
tory Corps.  Copies  of  this  Manual  are  available  from 
the  Supt.  of  Documents,  Washington,  D.  C,  15  cents 
per  copy. 

National  director  of  the  Victory  Corps  is  A.  L.  Threl- 
keld.  Superintendent  of  Schools,  Montclair,  N.  J.,  now 
on  leave  of  absence  from  Montclair. 

Recently  he  served  as  chairman  of  the  Wartime  Com- 
mission committee  preparing  recommendations  on  sec- 
ondary education's  war  role,  a  report  which  resulted  in 
formation  of  the  Victory  Corps  program.  Dr.  Threl- 
keld  brings  to  his  work  in  the  U.  S.  Office  of  Education 
many  years  of  successful  educational  experience.  Before 
going  to  Montclair  he  was  superintendent  of  schools  at 
Denver.  He  was  also  president  of  the  American  Asso- 
ciation of  School  Administrators. 


a 


January,  1943 


cAfohi 


niming  the  African  Battlelront 

From  the  day  of  tlie  attack  at  El  Alamein,  the 
British  army  film  and  photographic  unit  has  been  in 
a  forward  position  with  the  troops.  One  of  their  officers 
has  returned  to  Britain  with  20,000  feet  of  film.  This 
material  is  being  edited  into  a  complete  story  of  the 
Eighth  Army's  successful  African  campaign,  which  will 
be  shown  to  the  public. 

The  officer  who  carried  the  film  home  explained  his 
and  his  colleagues'  work  in  a  broadcast  talk.  The  fol- 
lowing excerpts  indicate  the  handicaps  and  risks  which 
these  photographers  face. 

"When  the  last  big  show  started,  we  had  at  least  one 
team  of  camera  men  and  photographers  with  each  di- 
vision of  the  attacking  forces.  They  had  orders  to 
photograph  the  battle,  as  they  saw  it,  and  to  follow 
forward  with  the  advancing  troops.  This  is  putting 
it  rather  modestly,  because  in  fact  what  happened  in 
many  cases  was  that  our  team  took  whatever  oppor- 
tunities they  could  to  get  in  front  of  the  frontlines.  so 
that  they  could  get  pictures  of  our  men  coming  forward 
to  the  attack. 

"On  a  job  of  this  kind  it  is  left  to  each  individual 
team  to  get  the  most  vivid  pictures  of  the  action  they 
are  watching.  You  tnay  think  that  this  is  not  too  diffi- 
cult to  decide. 

"But  it  is  not  quite  so  easy  as  that,  because  the 
desert  is  a  devilishly  difficult  place  to  illustrate.  With 
no  vantage  points  for  the  camera,  the  heat  mirage  comes 
up  from  the  ground  and  distorts  the  sharp  image  of  the 
object,  and  so  makes  decent  photography  impossible, 
at  anything  more  than  a  mile's  distance.  When  the 
sun  is  down  it  is  completely  blinding.  There  are  no 
shadows,  no  trees,  no  mountains,  nothing  but  scrubby 
camel  thorn,  and  very  often  a  dust  haze  to  make  it  even 
more  difficult. 

"The  Army  film  and  photographic  units  were  travel- 
ing in  American  jeeps  or  trucks,  keeping  up  with  the 
attack,  and  I  was  constantly  visiting  them  to  see  how 
they  were  getting  on  and  what  material  they  were 
getting.  Every  day  the  reels  and  negatives  would  go 
back  to  battle  headquarters  to  be  developed  at  the  base. 
I  can  assure  you  that  these  chaps  were  as  keen  on  their 
job  as  the  fighting  men,  and  ran  exactly  the  same  risks." 
With  the  U.  S.  Forces 

•  We  learn  from  Thurman  White,  Director  of  Visual 
Education,  University  of  Oklahoma,  Norman, 
that  Boyd  Gunning,  who  had  been  Head  of  that 
Department  for  many  years,  is  now  an  Artillery 
Officer  overseas. 

•  Mr.  James  W.  Brown,  formerly  Supervisor  of  Audio- 
Visual  Education.  State  Department  of  Education, 
Richmond,  Virginia,  resigned  his  position  last  sum- 
mer to  accept  a  commission  in  the  United  States  Navy. 

•  Orton  H.  Hicks,  on  leave  of  absence  from  Walter  O. 
Gutlohn,  Inc.,  has  been  commissioned  a  major  in  the 
Special  branch  of  the  U.  S.  Army,  and  will  handle 
motion  picture  distribution  for  overseas  exhibition. 
He  will  remain  in  New  York. 


Page  31 


Whether  you  seek 
EDUCATION  or  ENTERTAINMENT 

you  will  find  that 
the  VISUAL  way  is  the  BEST  way! 

I NCREASE  your  knowledge  of  world  affairs 
and  home  affairs;  enjoy  the  thrills  of  your  favorite 
sport  in  season  and  out  of  season;  "See  America" 
and  travel  to  the  four  corners  of  the  world;  ...  or 
see  Hollywood's  greatest  stars  in  their  greatest 
pictures,  just  as  they  are  shown  on  the  screens  of 
America's  theatresi 

Here  are  some  of  the  outstanding  dramatic, 
musical,  and  comedy  successes  of  the  year,  pro- 
nounced  by  the   leading   motion   picture  critics  as 

"Pictures  You  Must  Not  Miss!" 


ABBOTT  &  COSTELLO 

— th«  comedy  team  voted  by  the 
nation's  picture  fans  as  the 
Number  I  Attraction  ...  in  two 
of  their   funniest   pictures — 

"KEEP  'EM  FLYING" 

— a  story  of  the  two  nit-wits  who 
get  tangled  up  with  the  air 
corps,  bringing  to  the  screen 
some  of  the  most  thrilling  and 
spectacular  air  shots  ever  filmed 
and — 

"RIDE  'EM  COWBOY" 

— a  picture  which  puts  these  ace 
comedians  on  horses,  but  can't 
keep  'em  there.  A  hilarious 
comedy  featuring  an  all  star 
cast   of    Hollywood    beauties. 

"WHArS  COOKIN' " 

Here  is  one  of  the  liveliest  musi- 
cal comedies  of  the  year,  with 
an  all  star  cast,  featuring  {he  de- 
lighHul  little  song-brd  GLORIA 
JEAN.  It's  one  for  the  hep<ats 
— young   and   old. 

Deanna  Durbin 

Charles  Laughfon 

in  "IT  STARTED  WITH  EVE" 

Two  great  stars  in  one  of  the 
finest    comedies    of    the    year. 

"BROADWAY" 

George  Raft  at  his  best  ...  in 
the  role  of  a  Broadway  hoofer 
during  the  prohibition  days.  Ac- 
tion,   pathos  and    romance. 


"BUTCH  MINDS  THE  BABY" 

The  delightful  Damon  Runyon 
story  put  on  the  screen  with  Bred 
Crawford  as  Butch.  T^e  critics 
call    this    a    "must*    picture. 

"THE  SPOILERS" 

Here  is  the  picture  that  made 
motion  picture  history  with  the 
dramatic  fight  between  John 
Wayne  and  Randolph  Scott.  Mar- 
lene   Dietrich    is  also   starred. 

"SABOTEUR" 

Here  is  Alfred  Hitchcock,  master 
of  suspense,  at  his  best.  It  is  a 
story  of  what  could  be  happen- 
ing in  your  town  today. 

Burma  Convoy 
Flying  Cadets— Road  Agent 

Three  action-adventure  pictures 
with  top  flight  start,  each  of 
which  is  guaranteed  to  provide 
you  and  your  friends  with  a  glori- 
ous evening  of  entertainment. 

We  are  also  proud  to  make 
available  to  you  at  this  time, 
two   feature   productions. 

"CAVALCADE  OF  AVIATION" 
"MENACE  ofthe  RISING  SUN" 

These  two  featuretteswere  actually 
billed  as  features  in  the  finest 
theatres  of  America.  They  are 
timely,  thrilling,  spectacular  and 
authentic. 


UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


Page    52 


The  Educational  Screen 


Cuxi^nt  \jiLm  ^J\£.vcf^ 


PROTECT    FILMS  c.^JV 


■  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York  City,  have  compiled 
a  one-reel  film  which  records  the  auth- 
entic story  of  the  great  Allied  victories 
in    North    Africa. 

Yanks  Invade  Africa — comprising 
the  first  part  of  the  film — is  an  on-thc- 
sport  report  of  the  opening  of  the  Sec- 
ond Front.  Thrilling  are  the  scenes  of 
the  greatest  sea-borne  invasion  the  world 
has  ever  known — the  gathering  of  the 
huge  convoy,  then  the  sailing  through 
submarine    infested    waters    to    its     ob- 


tf-mniJIp^ 

i  -f^'.^     : 

p«ar~^ 

Americans  land  in  Africa 

jectives.  .American  troops  swarm  ashore 
in  special  invasion  barges  with  all  the 
latest  in  equipment.  Cheering  French 
and  natives  greet  the  Yanks  as  they 
march   into  such   key  cities  as  Oran. 

Victory  Over  Rommel — the  closely 
related  subject  on  the  same  reel — pic- 
tures the  first  smashing  defeat  of  Rom- 
mel. Battered  from  the  gates  of  Suez, 
Rommel  flees  hundreds  of  miles  across 
the  burning  desert,  his  forces  shattered. 
Scenes  of  desert  land  and  air  war  show 
burning  trucks,  enemy  planes,  and  blast- 
ed tanks.  A  night  battle  leaves  an  un- 
forgettable memory  of  the  ferociousness 
of  this  vital  fight. 

This  reel  can  be  obtained  from  photo- 
graphic stores  and  many  film  libraries 
in   both  8mm   and   16mm    sizes. 

■  Visual  .\rt  Film  Distributors,  204 
Empire  Bldg.,  Pittsburgh,  Pennsylvania, 
have  established  a  free  lending  depart- 
ment with  over  seventy  educational  short 
subjects.  This  selection  of  free-loan  16mm 
sound  motion  pictures  includes  10-minute 
reels  on  Animal  Life,  Art,  Aviation, 
Astronomy,  Civilian  Defense,  History, 
Literature,  Musicals,  Social  Studies,  and 
Travel. 

The  travel  group  ofifers  timely  reels 
on  the  islands  of  the  East  Indies,  Wash- 
ington, South  America.  Mexico,  Africa, 
and  other  countries  vitally  concerned  in 
the  world-wide  conflict.  Bees,  beavers, 
birds,  fish,  and  buffaloes  are  among  the 
animals  covered  in  the  scries  on  animal 
life. 

A  complete  list  and  detailed  informa- 
tion on  lending  regulations  may  be  ob- 
tained from  N'isual  Art  Films  Distribu- 
tors. 


■  Walter  O.  Gutlohx,  Inc.  25  W.  45th 
St.,  New  York  City,  announce  the  re- 
lease of  two  groups  of  British  historical 
16mm  sound  films  produced  with  a 
new  technique.  These  motion  pictures 
are  made  from  famous  works  of  art,  in- 
cluding sculpture  and  landscape.  By 
clever  use  of  the  camera,  the  pictures  are 
given  life-like  realism  and  movement 
with    unusual    dramatic    effect. 

The  series  on  English  monarclis  in- 
cludes Henry  VIII  (one  reel);  Ed- 
ward V'l  (one  reel)  ;  Mary  Tudor  (two 
reels)  ;  and  Elizabeth  (6  reels).  The 
films  cover  the  Golden  Ages  in  British 
history  wliich  witnessed  the  consolidation 
of  Britain,  exploration  of  the  new  world, 
successful  defense  against  invasion  and 
the  period  of   Reformation. 

The  series  on  famous  women  of  his- 
tory tells  the  story  of  Joan  of  Arc, 
Cleopatra  and  .-Xnthony,  Boadicea,  Delilah 
and  the  Queen  of  Sheba.  They  are  one 
reel  each. 

■  Bell  &  Howell  Company,  1801 
Larchmont  Ave.,  Chicago,  announce  a 
new  16mm  sound  reel  on  birds,  avail- 
able in  Kodachrome  or  black-and-white, 
titled : 

Friends  of  the  Air — presenting  in- 
teresting studies  of  our  more  commonly 
known  bird  visitors,  including  robin, 
wren,  bluebird,  brown  thrasher,  cardinal, 
jay,  nuthatch,  catbird,  and  many  others, 
accompanietl   by    authentic   recordings    of 


VAP 


ASK   TOUR   DEALER  OR   PHOTOFINISHER 
VAPORATECO..  INC.*  BELL  «  HOWELL  CO. 

I ou  West  46th  St    ISOf   Larohmnt,  Chl«w> 
New  York.  N.  Y.        7l6N.Labrea,  Hollywood 


ES  STAINS 
FINGER. 
MARKS-THE 
WAY  THE 
U.  S.  GOV- 
ERNMENT 
AND  THE 
HOLLY. 
WOOD  PRO- 
DUCERSDO 


Shot  from  "Friends  of  the  Air" 

bird  voices  and  an  informative  narra- 
tion, pointing  out  the  importance  as  well 
as  the  beauty  of  birdlife. 

Roller  Bandaging — a  new  reel  avail- 
able in  black-and-white,  sound  and  silent, 
and  in  color  silent  versions — has  just 
been  completed  by  Dr.  Jacob  SarnofiF, 
prominent  Brooklyn  surgeon  for  exclusive 
distribution  through  the  Bell  &  Howell 
l-"ilmosound  Library.  The  Film  is  ap- 
I)roved  by  the  International  College  of 
Surgeons. 

While  the  roller  bandage  is  not  as 
widely  taught  in  current  first-aid  classes 
as  is  the  simpler  triangle  bandage,  it  is 
very  widely  used  among  the  more 
skilled  first-aiders.  This  film  shows 
every  step  in  the  application  of  band- 
ages, from  one  inch  to  four  inches  in 
width,  to  various  parts  of  the  body. 


■  Office  Of  War  L\form.\tion,  Bu- 
reau of  Motion  Pictures,  Washington. 
D.  C.  last  month  released  four  16mm 
sound  short  subjects  for  distribution  to 
schools   and   community  groups. 

Campus  on  the  March — 19  minutes 
running  time — shows  some  of  the  war- 
time activities  at  the  colleges  and  uni- 
versities m  the  United  States  devoting 
their  resources  and  facilities  to  the  war 
effort. 

Divide  and  Conquer — 14  minutes — 
exposes  Nazi  techniques  of  spreading 
hate  and  fear,  distrust  and  confusion. 
The  film  reveals  how  Hitler  used  all  the 
devices  of  propaganda  and  espionage 
to  destroy  the  morale  of  the  French 
people,  and  warns  that  the  Nazis  are 
busy  in  America  today,  spreading  the 
same    seeds    of    confusion    and    fear. 

Henry  Browne,  Farmer — 11  minutes 
— is  a  simple  and  moving  story  of  a 
Negro  farmer  and  his  family,  and  what 
they  are  doing  individually  and  col- 
lectively to  win  the  war.  The  film  ends 
with  the  family's  visiting  the  Tuskegee 
air  field  where  the  eldest  son  is  serving 
with  the   Army  Air  Forces. 

The  Price  of  Victory — 13  minutes — 
presents  Vice-President  Henry  K.  Wal- 
lace. He  explains  the  ideals  we  are 
fighting  for  and  the  price  we  must  pay 
for  Victory. 

■  Official  Films,  Inc.,  425  Fourth 
Ave.,  New  York  City,  announces  a  new- 
catalogue  which  contains  description  of 
their  complete  line  of  8mm  and  16mm 
films.  A  free  copy  may  be  obtained  upon 
request. 

All  films  are  segregated  according  to 
subject,  such  as  News  Thrills,  Historic, 
Patriotic.  Sport  Beams,  Musicals,  Com- 
edies, Cartoons  and  Specialties.  This 
catalogue  makes  a  handy  reference  guide 
and  provides  the  means  of  arranging  a 
complete  movie  program  for  the  enter- 
tainment of  both  young  and  old. 

• 

■  The  Princeton  Film  Center,  Prince- 
ton, New  Jersey  reports  that  the  Boeing 
.Aircraft  Company  will  collaborate  with 
them  in  the  production  of  a  three-reel 
color  film  that  will  document  the  fam- 
ous "Flying  Fortress"  and  other  note- 
worthy aircraft  achievements  of  the 
creators  of  the  "Fortress".  N.  W.  Kyex 
and   Son   will  supervise  for  Boeing. 

The  film  is  scheduled  for  immediate 
production  under  the  guidance  of  Gordon 
Knox,  of  the  Film  Center.  Distribution 
will  be  handled  through  a  number  of 
outlets,  witli  strong  emphasis  placed  on 
educational   and   service   organizations. 

(Contimicd  oti  page  34) 


January,   194} 


Page   3  3 


Americans  Latest 

Educational  Movie 


Novelty. 


f 


OVIE 
UIZ 


A  new  series  oi  single- 
reel  subjects  for  non- 
theatrical  use,  com- 
bining fascinating 
entertainment  with 
useful  information. 


Test  "10"  with  "MO 


7> 


WUcU  9l  ''Mouie  2uif,? 


n 


"Movie  Quiz"  is  a  simple,  iascinalinq,  educational  film 
innovation  which  will  bring  to  school,  church  or  club 
program  oil  the  popular  appeal  oi  the  radio  quiz.  It  is 
a  series  of  single-reel  films,  each  covering  a  variety  of 
subject  matter — travel,  sports,  science,  expeditions,  current 
events,  and  the  like.  Each  subject  poses  a  series  of  eight 
questions  based  on  the  material  shown,  with  the  audience 
invited  by  the  film's  narrator  to  answer  them  by  use  of 
notched  cards  which  are  distributed  before  the  start  oi 
the  film  progrcmi. 

"Movie  Quiz"  is  recommended  as  a  highly  entertaining  and 
informative  series  of  films  for  the  assembly  or  community 
night  program.  Write  today  for  further  information  and 
rental  rates. 


>lvailabfe    onfy  from 


IDEAL  PICTURES  CORPORATION 


fftrough  ifs  offices  and  afflllate%  as  follewt: 


IDEAL  PICTURES  CORP. 
IDEAL  PICTURES  CORP 


28  E.  Eighth  Street.  Chicago.  III. 

18  S.  Srd  St.,  Memphis,  Tenn. 
IDEAL  PICTURES  CORP..  2408  W.  7th  St.,  Los  Angeles,  Calif. 
IDEAL  PICTURES  CORP.,  1739  Oneida  St.,  Denver,  Colo. 
STEVENS-IDEAL  PICTURES,  89  Cone  St.,  N.  W.,  Atlanta,  Ga. 
IREAL  PICTURES   CO..    36S3    Bishop   St.,    EI   Paso.   Texas. 


NATIONAL-IDEAL  PICTURES,   INC.,   2024   Main  St.,   Dallas,  Texas. 
OWENS-IDEAL  PICTURES  (Drawer  H,  Milwaukee  Branch),  Portland,  Oregon. 
IDEAL  SOUTHERN  16MM  PICTURES  CO..   172  N.  E.  96lh  SI.,  Miami,  Florida. 
IDEAL-SOUTHERN  16MM  PICTURES  CO..  2244  Park  Ave.,  Richmond,  Va. 
BERTRAM  WIILOUGHBY  PICTURES.  Inc.,  1600  Broadway,  New  York  City. 
CINEMA,    INCORPORATED,    234    Clarendon    St.,    Boston,    Mass. 


Page   34 


The  Educational  Screen 


■  DeVry  Films  and  Laboratories, 
1111  Armitage  Ave.,  Chicago,  report 
that  the  DeVry  Film  Library  of  16mm 
educational  subjects  has  expanded  its 
rental  facilities  to  include  16mm  recrea- 
tional films,  representing  some  of  the  out- 
standing productions  of  Hollywood 
Studios.  These  features,  now  available 
from  DeVry,  have  been  carefully  select- 
ed for  their  cultural  and  educational 
values,  and  as  such  are  suitable  for  show- 
ing to  non-theatrical  audiences. 

Each  recreational  film  rented  will  in- 
clude at  no  extra  cost,  selected  short 
subjects  so  as  to  ofTer  a  XYz  hour 
minimum  program.  Rental  rates  are 
moderate,  with  important  savings  offered 
to  film  patrons  booking  five  or  more 
recreational,  or  twenty  or  more  educa- 
tional subjects  within  a  period  of  one 
year. 

For  a  free  catalog  of  Recreational 
Films,  write  to  DeVry  Films  and 
Laboratories.  Mr.  Gordon  Hale  is  Gen- 
eral Manager  of  the  Film  Library. 

■  Commonwealth  Pictures  Corpora- 
tion, 729  Seventh  Ave.,  New  York 
City,  have  the  16mm  sound  distribution 
of  the  feature  film: 

A  Night  of  Terror— a  tense,  sus- 
penseful  drama  starring  Basil  Rathbone 
and  Ann  Harding.  The  story  opens  with 
the  heroine's  winning  the  Grand  Prize 
in  a  French  National  Lottery.  The  sud- 
denly acquired  wealth  leads  to  an  es- 
trangement with  her  fiancee,  and  changes 
her  whole  life.  She  meets  a  fascinating 
stranger  and  marries  him.  They  move 
to  a  house  in  the  country  so  he  can 
carry  on  his  photographic  experiments, 
which  she  is  never  permitted  to  see.  His 
behavior  grows  more  strange  and  finally 
she  realizes  her  husband  is  a  murderer, 
planning  her  death  also.  For  self-pro- 
tection she  tells  him  she  has  poisoned 
his  coiTee  and,  terrified,  he  dies  of  heart 
failure.  She  is  then  reunited  with  her 
former    suitor,    the    substantial    Ronnie. 

Ideal  Catalog 

The  23rd  Annual  Catalog  of  Ideal 
Pictures  Corporation,  28  E.  Eighth 
Street,  Chicago,  has  just  been  an- 
nounced. The  thousands  of  films 
described  in  its  102  pages — size  8^x11 
inches — are  listed  in  two  main  sec- 
tions— 16mm  sound  films  and  16nim 
silent  films.  Each  of  these  sections  is 
subdivided  into  the  following  three 
classifications — the  School  List,  the 
Church  List  and  the  Recreational  List. 
Educational  subject  headings  include 
Agriculture,  Art  and  Architecture,  As- 
tronomy, Athletics  and  Sports,  Bird 
and  Animal  Life,  Geography,  History, 
Industries,  Music,  Sciences,  Safety  and 
Health,  Insect  and  Plant  Life,  Foreign 
Languages  and  many  others.  Films  re- 
leased by  the  U.  S.  Office  of  War 
Information,  by  the  Coordinator  of 
Inter-American  Affairs  on  our  Latin- 
American  neighbors,  as  well  as  Civil- 
ian Defense  subjects  are  included. 
There  is  a  list  of  8mm  films.  The  cata- 
log is  available  to  school,  church,  club 
and  community  group  film  users,  on 
request  to  Ideal  Pictures  Corporation. 


"Background  for  Tomorrow" 

Here  is  an  exceptional  piece  of  film- 
making, a  seven-reel  motion-picture, 
tellingly  titled,  that  vividly  presents 
museums  as  live  educational  centers, 
teeming  with  activity  and  wielding  a 
powerful  influence  on  the  minds  and 
thoughts  of  millions  that  come  within 
visual  range  of  their  intellectual  treas- 
ures. Six  famous  Chicago  museums 
gave  fullest  cooperation  by  their  en- 
tire administration  and  staffs  to  the 
Atlas  Productions  Inc.  for  the  mak- 
ing of  this  unique  picture — namely, 
the  Field  Museum  of  Natural  His- 
tory, the  Museum  of  Science  and  In- 
dustry, the  Chicago  Academy  of 
Sciences,  the  Chicago  Historical  So- 
ciety, the  Chicago  Art  Institute  and 
the  Oriental  Institute.  Views  of  the 
six  buildings,  of  some  of  the  outstand- 
ing exhibits  of  each,  of  the  year-round 
stream  of  visitors  and  students,  are 
but  a  minor  part  of  this  feature  pic- 
ture's content. 

A  central  purpose  dominates  the 
film,  to  show  how  events  and  develop- 
ments from  the  remotest  past  to  the 
present  day  furnish  the  experiential 
basis  for  a  still  richer  future  for  the 
human  race.  The  continuity  of  the 
picture  falls  logically  into  units — evolu- 
tion of  the  natural  world,  biological 
growth  of  animal  life,  dawn  and  de- 
velopment of  the  human  race,  the 
gradual  advance  in  the  arts,  in  trans- 
portation, in  manufacture  and  industry, 
and  the  amazing  complexity  and 
achievement  of  present-day  civilization 
with  its  brilliant  promise  for  the  fu- 
ture— illustrated  by  selected  displays 
in  the  various  museums  shown  in 
orderly   sequence.     At   frequent  inter- 


Courtesy  Field  Mnseum 

Behind  the  scenes  in  a  great 
museum — the  first  coat  of  plas- 
ter  of  paris  on  a  museum  model. 

shots,  deftly  inserted  and  always 
relevant  to  the  narrative  in  hand,  such 
as  actual  walrus  hunting,  a  remark- 
able close-up  bit  of  beavers  at  work, 
underground  mining  operations,  an 
airplane  survey  of  lands  of  archaeo- 
logical treasures,  modern  art  tech- 
niques in  pottery,  painting  and  sculp- 
ture, and  many  more.  The  entire 
picture  is  excellent  in  its  technique, 
lighting  and  photography,  and  nice 
variety  in  camera  angles.  Different 
speakers  for  the  narrative  accompani- 
ment are  a  pleasing  feature. 

Those  who  still  incline  to  think  of 
museums  as  merely  mortuaries  for 
dead  facts  of  the  past  should  see  this 
picture.  It  is  a  revelation  of  what 
museums  really  are  and  what  they  can 
mean  to  children  and  adults  alike.  It 
is  not  only  stimulating  in  itself  to 
both  young  and  mature  minds  but 
should  prove  a  powerful  incentive  to 
increased  museum  attendance  through- 


Courtesy  Field  Museum 
Actual  filming  of  a  museum  exhibit  group. 


vals  are  integrated  smoothly  into  the 
continuity  actual  motion  shots  of 
various  museum  expeditions  in  the 
far  north,  the  tropics,  the  ancient 
East — the  vast  creative  activity  behind 
the  exhibits  by  artists  and  artisans 
constantly  busy  in  the  museum  work- 
shops and  studios,  always  invisible 
and  unknown  to  the  museum  visitor — 
with  many  illuminating  supplementary 


out  the  country  wherever  it  is  shown. 
The  picture  is  available  for  com- 
munity showings,  with  admission 
charged  for  local  fund-raising  pur- 
poses. It  should  be  brought  within 
reach  of  the  school  field  generally  in 
single  reel  units  as  well  as  full  length 
showing.  (Full  information  can  be 
had  from  Atlas  Productions,  Inc., 
nil   South  Boulevard,  Oak  Park,  111. 


January,   194) 


czrfmona  tnz  iJ\oduazx± 


New  "V"  Filmosoiuid  Projector 

Bell  &  Howell  Conipaiiy,  1801 
Larcliinont  Ave.,  Chicaxo,  have  an- 
nouiieed  a  new  projector  model,  the 
"\'"  Kilniosouiid  whieh  they  state  is 
every  inch  a  B  &  H  projector  in 
quality  and  performance  in  spite  ol 
restricted  use  of  critical  materials. 

A  new  sound  head  of  welded  sheet 
steel  has  been  substituted  for  the  cast- 
ing formerly  employed.  A  carrying 
case  of  waterproofed  fir  provides 
the  extra  strength  required  for  the 
slight  additional  weight  of  substitute 
materials.  Die  castings,  formerly  of 
aluminum,  are  now  zinc.  A  larger 
carrying  handle  has  been  designed 
with  an  automatic  spring  to  i)revcnt 
the  liaiidle  from  resting  over  the  lamp- 
house  vent  when  the  machine  is  in 
operation. 

Gear  case  ventilation  has  been  im- 
proved with  the  result  tliat  oil  vapor 
is  now  exhausted  through  the  cooling 
system    to    i>revcnt    the    formation    of 


Bell  &  Howell  "V"  Projector 

oil  film  on  optical  components  of  the 
projector.  Other  improvements  include  a 
loud  speaker  of  more  efficient  construction 
and  special  treatment  of  all  con- 
densers and  resistors  to  reduce  the 
eflect  of  humidity.  Amplifier  temper- 
atures are  lower  in  this  model,  as  a 
result  of  improved  sound  head  ven- 
tilation. 

The  new  "V"  Filmosound  is  available 
now  only  to  our  armed  forces — but  it 
is  indicative  of  the  better  "things  to 
come"  from  Bell  &  Howell  crafts- 
men, when  peace  is  restored. 

Death  of  Bell  &  Howell  Official 

Charles  Alvin  Ziebarth,  61,  secre- 
tary of  the  Bell  &  Howell  Company, 
died  November  27  at  his  home  in 
Wilmette,    Illinois. 

Mr.  Ziebarth  was  a  pioneer  in  the 
motion  picture  equipment  field.  Of 
German  parentage,  he  came  to  this 
country  when  two  years  old,  and,  with 
his  parents,  settled  in  Davenport, 
Iowa,  where  he  received  his  early 
schooling. 

In  July,  1909,  he  joined  the  Bell  & 
Howell  organization  as  a  tool  maker. 
In   1910,    he   accepted  a  position   with 


the  American  Film  Company,  where 
he  remained  as  superintendent  of 
laboratory  until  he  returned  to  the 
Bell  &  Howell  organization  in  1918 
as  superintendent  and  works  man- 
ager, a  position  which  he  has  held,  in 
addition  to  being  secretary  of  the 
corporation,  since  that  time.  His 
rich  background  of  practical  experi- 
ence in  photography  and  as  a  film 
laboratory  technician  played  an  im- 
portant part  in  developing  manu- 
facturing methods  in  the  production 
of    motion    picture    equipment. 

Mr.  Ziebarth  was  an  enthusiastic 
amateur  movie  maker.  His  natural 
color  films  of  bird  life  probably  rep- 
resent the  finest  motion  pictures  of 
this  kind  that  have  ever  been  made. 

SlideiUnis  for  Training  Shipfitters 

The  expansion  in  the  shipbuilding 
industry  resulting  from  the  war  effort 
has  necessitated  a  speedup  in  the 
training  of  shipyard  workers.  To 
facilitate  this  training.  Photo  and 
Sound  of  San  Francisco  is  producing 
a  series  of  silent  or  reading  slide- 
films  on  shipfitting.  Subjects  covered 
include  tools  and  their  uses,  assembly 
of  various  ship  parts,  and  blueprint 
reading.  The  completed  series  will 
total  around  eighty  slidefilnis  of  from 
ten  to  forty-five  frames  each.  Thirty- 
five  of  the  films  are  now  available  for 
distribution.  Supplementary  study  guides 
accompany  each  production. 

The  program  has  been  undertaken 
with  the  cooperation  of  the  Richmond 
Shipbuilding  Corporation  and  the  II. 
.S.  Maritime  Commission,  and  it  is 
hoped  that  it  will  aid  materially  in 
training  shipyard  personnel  mojc 
ipiickly  and  more  efficiently. 

New  York  Advertising  Club 
Honors  Bray 

The  Fighting  Film  Forum  of  The 
New  York  Advertising  Club,  at  the  first 
of  its  Monthly  Study  group  luncheons, 
had  as  a  Guest  of  Honor,  Mr.  J.  R. 
Bray,   President  of  Bray   Pictures. 

Mr.  Bray  made  the  first  films  ever 
used  in  Army  War  training.  At  the 
outbreak  of  World  War  One,  he 
placed  his  motion  picture  studios  and 
his  patented  animated  technical  drawing 
processes  at  the  disposal  of  the  U.  S. 
Army.  The  Bray  Studios  produced  over 
one  hundred  subjects  that  were  effective- 
ly used  in  training  officers  and  men  of  the 
World  War  One  Army. 

From  a  speech  presented  at  the  lunch- 
eon on  behalf  of  Colonel  Melville  V.  C,il- 
lette,  it  was  leanied  that  many  hundreds 
of  training  film  subjects  pnxluced  by 
the  Photographic  Section  of  the  Signal 
Corps  are  now  utilized  by  the  Army  in 
training,  and  that  it  has  resulted  in  re- 
ducing the  training  time  by  over  40%. 
The  Chairman  of  The  Flighting  Film 
F-orum,  Mr.  Francis  Lawton,  Jr.,  him- 
self a  pioneer  in  the  field  of  educational 
and    industrial    films,   asserted    that    the 


Page  35 

Army  motion  picture  training  film  pro- 
gram serves  as  an  illuminating  example 
of  how  films  could  be  used,  much  more 
extensively  than  at  present,  in  industrial 
training,  clerical  instruction,  sales  di- 
rection, dealer  stimulation,  product  dem- 
onstration, and  consumer  selling. 

Mr.  Bray  .said  he  believed  tliat  the 
great  use  now  being  made  of  films  in 
service  and  school  training  will  impart 
such  an  impetus  that  the  industrial  and 
educational  picture  will  be  one  of  the 
Motion  Picture  industry's  most  im- 
portant   peace-time    functions. 

Teaching  Unit  on  Safety 

Informative  Classroom  Picture  Pub- 
lishers   of    Grand    Rapids,     Michigan, 
announces   the   addition    of    a    unit   on 
"Safety"  to  its  series  of  teaching  pic- 
tures in  the  Social  Sciences.    Twenty- 
four    black    and    white    line    drawings 
constitute  the  unit,  size  ^Y^  inches  by 
11  inches,  printed  on  bristol  board.  As 
is     the    case    in    all    the     Informative 
Classroom  Pictures  series,  each  picture 
in  this  teaching   unit   is   carefully   and 
painstakingly  prepared  to  provide  sub- 
ject   matter   that   explains    or    clarifies 
some  vital  element  in  the  study  of  the 
subject       presented.       Four       factors 
are      uppermost      in      producing      the 
pictures — good    drawing,    correct   per- 
spective,   interesting    and     informative 
composition.     Each  picture  is  original 
and   authentic   representing   the   situa- 
tion accurately.     Safety  in  the  streets, 
on   country  roads,  in   play  and  sports, 
in   camping,    fire    prevention,    first   aid 
in  wounds  and  asphyxiation,  are  some 
of  the  subjects  covered  in  the  unit  on 
"Safety."     Concise  text  material,   sug- 
gested   activities    and    a    bibliography 
accompany  each  drawing. 

For  further  information  on  this  and 
other  units  in  this  series  of  teaching 
pictures,  write  to  Informative  Class- 
room   Picture    Publishers. 

Edison  Tried  It.  Too 

(Concluded  from  page  18) 

reduction  to  form  a  "library."  All  of 
the  small  rolls,  each  perhaps  fifty  feet 
in  length,  were  shipped  by  mail  from 
the  studio  premises  at  West  Orange, 
New  Jersey.  The  ingenious  tin  can 
containers  were  perhaps  four  inches  in 
diameter,  their  covers  opened  or  closed 
by  turning  thumbscrews  in  the  middle. 
Unhappily,  the  time  for  such  facil- 
ities was  not  ripe.  It  soon  became 
apparent,  indeed,  that  hotne  and  school 
movies  were  still  far  away  in  any 
practical  sense  of  volume.  Then  in 
December,  1914.  a  roaring  fire  razed 
the  West  Orange  establishment  taking 
all  the  Home  Projectors  in  stock  and 
most  of  the  library  reels  with  it,  pro- 
viding the  needed  excuse  to  dismiss 
the  Home  Kinetoscopc  project  as  "just 
another  of  those  things."  In  the  lingo 
of  most  of  the  great  research  laborator- 
ies concerning  experimental  projects 
which  misfire,  it  went  back  into  the 
"doodle  box."  Only,  to  end  as  we 
started,  with  a  paradox,  this  one  did 
not  miss  fire — the  West  Orange  fire. 
I  just  thought  you'd  like  to  know. 


Page   36 


The  Educational  Screen 


TJXPIIJTI^     TfUP^^       A  13 C*  A  Trade  Directory 

JTIUXXU       X  X±£j   X       X^XVU  for  the  visual  Fleld 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425  Williams  St.,  Denver,  Colo. 

Bailey   Film   Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  page  23) 

Brandon  Films  (3) 

1600  Broadway,  New  York  City 

(See    advertisement    on    page    24) 

Bray  Pictures  Corp. 

729   Seventh    Ave.,    New    York  City 

(See  advertisement  on  paKe  29) 

Castle  Films  (3) 

RCA  Bldg.,  New  York  City 

(Sec-   advertisement   on    papre    1) 

College  Film  Center  f  3,  5) 

84   E.   Randolph  St.,   Chicago. 

Creative  Educational  Society  (1) 

4th  Fl.,  Coughlan  Bldg. 
Mankato,  Minn. 

(See  advertisement  on  pajfe  30) 

DeVry  School  Films  (3) 

1111  Armitage  Ave.,  Chicago 

(See  advertisement   on   page  2) 

Eastman  Kodak  Co.  (3) 

Teaching  Films  Division 
Rochester,  N.  Y. 

Eastman  Kodak  Stores,  Inc.  (3) 

Eastman  Classroom  Films 
356  Madison  Ave.,  New  York  City 

Edited  Pictures  System,  Inc.  (3) 

330  W.  42nd  St.,  New  York  City 

Father  Hubbard  Educational  Films  (2) 

188  W.  Randolph  St.,   Chicago 
Santa  Clara,  Calif. 

(See  advertisement  on  page  30) 

Films,   Inc.  (3) 

330  W.  42nd  St.,  New  York  City 

64  E.  Lake  St.,  Chicago 

314  S.  W.  Ninth  Ave.,  Portland,  Ore. 

General  Films,  Ltd.  (3,  6) 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  45th  St.,  New  York  City 

(See  advertisement  on   page  27) 

Harvard  Film  Service  (3,  6) 

Basement — Germanic  Museum 
Frisbie  PI.,  Cambridge,  Mass. 

Hoffberg  Productions,  Inc.  (2,5) 

1600  Broadway,  New  York  City 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  page  33) 

Knowledge  Builders  Classroom  Films 

35  W.  45th  St.,  New  York  City  (2,  5) 

Manse  Film  Library  (3) 

1521   Dana  Ave.,   Cincinnati,   O. 

(See  advertisement  on  page  29) 

Post  Pictures  Corp.  (3) 

723  Seventh  Ave.,  New  York  City 

The  Princeton  Film  Center 

106  Stockton   St.,  Princeton,  N.  J. 

RCA    Manufacuring   Co.,   Inc.         (2) 

Educational  Dcpt.,  Camden,  N.  J. 

(See  advertisement   on  page  21) 


Douglas  D.  Rothacker 

729  Seventh  Ave.,  New  York  City 

Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd.,  St.  Louis,  Mo. 
(See  advertisement  on  page  26) 

Universal  Pictures  Co.,  Inc.  (5) 

Rockefeller  Center,  New  York  City 

(See  advertisement  on   page  31) 

Visual  Art  Films  (2) 

204  Empire  Bldg.,  Pittsburgh,  Pa. 

(See  advertisement  on  page  30 1 

Visual  Education  Service  (3) 

131  Clarendon  St.,  Boston,  Mass. 

Vocational  Guidance  Films,  Inc.        (2) 
2718  Beaver  Ave.,  Des  Moines,  la. 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

Y.M.C.A.  Motion  Picture  Bureau       (3) 

347  Madison  Ave.,  New  York  City 
19  S.  LaSalle  St.,  Chicago 
351  Turk  St.,  San  Francisco,  Cal. 
1700  Patterson  Ave.,  Dallas,  Tex. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (3) 

2839  N.  Western  Ave.,  Chicago 

(See   advertisement  on   page  4) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  page  23) 

DeVry  Corporation  (3,  6) 

1111   Armitage  Ave.,   Chicago 

(See  advertisement   on   page  2) 

Eastman  Kodak  Stores,  Inc.  (3) 

Kodascope  Libraries 

356  Madison  Ave.,  New  York  City 

General  Films,  Ltd.  (3,  6) 

1924  Rose  St..  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago 

(See  advertisement  on  page  33) 

RCA   Manufacturing   Co.,   Inc.        (2) 

Educational  Dept.,   Camden,  N.  J. 

(Sec   advertisement  on   page  21) 

S.  O.  S.  Cinema  Supply  Corp.         (3,  6) 

449  W.  42nd  St.,  New  York  City 

Victor  Animatograph  Corp.  (3) 

Davenport,  Iowa 

(See  advertisement   on   inside  front  cover) 

Visual  Education  Service  (3) 

131  Clarendon  St..  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

RCA  Manufacturing  Co.,  Inc.  (2) 

Educational   Dept.,  Camden,   N.  J. 

(See  advertisement  on  page  21) 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago,  111. 
(See  advertisement  on  outside  back  cover) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


SLIDES  AND  FILMSTRIPS 

Edited  Pictures  System,  Inc. 

330  W.  42nd  St.,  New  York  City 

Ideal  Pictures  Corp. 
28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  page  33) 

Keystone  View  Co. 

Meadville,  Pa. 

(See  advertisement  on  page  25) 

Radio-Mat  Slide  Co.,  Inc. 
222  Oakridge  Blvd.,  Daytona  Beach, 
Fla. 

(See  advertisement  on  page  30) 

Society  for  Visual  Education,  Inc., 

100  E.  Ohio  St.,  Chicago,  III. 

(See  advertisement  on  outside  back  cover) 

Visual  Education  Service 

131  Clarendon  St.,  Boston,  Mass. 

Visual  Sciences 

Suffern,  New  York 

(See  advertisement  on  page  30) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,  N.  Y. 

(See  advertisement   on    inside   back   cover) 

DeVry  Corporation 

1111  Armitage  Ave.,  Chicago 

(See  advertisement  of  page  2) 

Eastman  Kodak  Stores,  Inc. 

Kodascope   Libraries 

356  Madison  Ave.,  New  York  City 

General  Films  Ltd. 

1924  Rose  St..  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Keystone  View  Co. 
Meadville,  Pa 

(See  advertisement   on  page  25) 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St.,  Chicago,  111. 

(See  advertisement  on  outside  bark  cnverl 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement   on   page   5) 

Williams,  Brown  and  Earl,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(I) 

indicates 

16 

mm 

silent. 

(2) 

indicates 

16 

mm 

sound. 

(3) 

indicates 
silent. 

16 

mm 

sound 

and 

(4) 

indicates 

35 

mm 

silent. 

(5) 

indicates 

33 

mm 

sound. 

(«) 

indicates 
silent. 

35 

mm 

sound 

and 

Confinuous  Insertions  under  one  heading,  $2.00  per  issue;  additional  listings  under  other  headings,  $1.00  each. 


EDUCATIONAL 


^"•■^-. 


THE   MAGAZINE    DEVOTED   TO    AUDIO-VISUAL  AIDS   IN    EDUCATION 


!^<c  Ubftft 


Public  Library 

Kansas  City,  Mo. 

Teachers  Library 


FEBRUARY,      1943 


^  ^  On  Guard  at  50*"  below  ^  ^ 


-but  looking  forward  to  evening  Movies 


X-Ray  view  of   interior 

of  Nansen  hoi  showing  how 

these    standard    U.    S.    Army 

Northland   living  quarters  ore 

used  for  motion  picture  projection. 


IX  the  bleak  loneliness  of  Arctic  re- 
gions where  fighting  men  maintain 
our  defenses  .  .  .  motion  pictures  are 
more  than  a  diversion!  They  are  a 
^  ital  link  to  that  far  away  homeland 
...  to  that  world  of  sunshine,  trees, 
friends,  and  family.  They  are  an  effec- 
tive force  for  counteracting  the  rigors 
of  'OUTPOST  DUTY"-they  are 
making  life  more  bearable. 

No  wonder  officers  in  Iceland  say: 
"Motion  pictures  are  as  necessary  to 
the  men  as  rations."  In  New  Delhi, 
India:  "Motion  pictures  constitute 
practically  the  only  diversion  for  troops 
in  many  scattered  stations." 

In  North  Afri<-a:  "Motion  pictures 
are  of  utmost  importance  in  providing 


entertainment  and  building  up  morale.'^ 
Enlist  Your  Projector! 

The  War  Department  urges  civilian 
owners  of  16mm.  sound  projectors  to 
resell  them  to  the  makers  who  are 
authorized  to  j)ay  a  reasonable  price 
for  acceptable  machines  m  hich  w  ill  be 
reconditioned  and  shipped  overseas. 

100%  of  Ampro  facilities  are  en- 
gaged in  the  production  of  precision 
war  equipment  and  projectors  for  edu- 
cation, training  and  maintenance  of 
morale — assuring  more  efficient  pro- 
jectors than  e\  cr  w  hen  the  war  is  over. 
Plan  for  the  future  by  keeping  up  with 
the  newest  developments  in  16mm. 
projectors.  Write  today  for  latest 
Ampro  Catalog! 


The  Ampro  Corporation,  2839  N.  Western  Ave.,  Chicago,  111. 

•AMFRD* 


The  above  dual  unit  Ampro-sounds  ore  typical 
of  those  used  in  "specrol  services"  oversees. 


PRECISION 


CINE 


EQUIPMENT 


The  EDUCATIONAL  SCREEN 


St.  Louis  Meeting  Off 

THE  recent  cancellation  of  the  an- 
nual February  meeting  of  School 
Administrators  at  St.  Louis  was  disap- 
pointing, but  reasons  therefor  were 
numerous,  obvious  and  valid.  Countless 
letters  to  Washington  since  September 
showed  that  the  field  anticipated  the 
move.  First,  one  wonders  why  decision 
was  po.stponed  to  the  eleventh  hour! 
Second,  it  is  understandable  that  the 
decision,  once  made,  should  be  disclosed 
first  to  exhibitors  concerned,  but  one 
wonders  still  why  the  telegram  should 
close  with  ''Confidential  meanwhile !" 
Why  not  with  "Broadcast  this  immedi- 
ately" ?  Did  not  such  news  merit  instant 
and  nation-wide  announcement?  Per- 
haps "military  secrecy'"  is  contagious. 
Are  educational  proceedings  enhanced 
by  a  like  veil  of  secrecy?  The  St.  Louis 
meeting,  held  or  not,  should  rank  about 
absolute  zero  among  the  present  wor- 
ries of  Hitler  and  Hirohito. 

The  D  V  I  will  suffer  seriously  from 
the  decision.  Its  session  at  St.  Louis 
was  vitally  needed.  These  are  seething 
times  for  visual  education.  Screens  are 
working  by  thousands  as  never  before, 
in  cami)s.  shops,  schools,  communities. 
Opportunity  and  responsibility  yawn 
wide  before  the  D  V  L  War  service  has 
removed  a  host  of  its  key  people.  It  was 
the  more  essential  that  the  "survivors" 
get  together.  Now  the  load  upon  our 
President  and  Secretary,  heavy  in  this 
hectic  year,  becomes  heavier.  All  must 
be  done  by  mail  and  printed  page.  It 
can  be  so  done  only  if  the  field  cooper- 
ates more  earnestly  than  ever  before. 
From  now  till  June — fully,  studiously, 
enthusiastically — ansiver  your  D  V  I 
mail.  N.  L.  G. 


VOLUME  XXIi 


FEBRUARY,  1943 


NUMBER    TWO 
WHOLE  NUMBER  209 


Contents 

Cover  Picture— Palacio  da  Acclamacao  in  Bahia,  Brazil 

[Courtesy  Mason  Warner) 

A  Junior  College   Demons+ration   Room 

in  the  Huoiani+ies Samuel  Weingarten     44 

Community   Resources   Pave  the  Way Dorothy   I.   Dixon  47 

Film    Mutilation   and    Insurance    Protection        B.    A.    Aughlnbaugh  52 

Motion   Pictures — Not  for  Theatres Arthur   Edwin    Krows  53 

Training  Films  Featured  at  Vocational  Meeting  56 

The  Film  and  International 

Understanding Conducted  by  John  E.  Dugan     59 

School-Made  Motion  Pictures        .Conducted   by  Hardy   R.   Finch     60 

Experimental  Research  !n  Audio-Visual 

Education Conducted    by    David    Goodman     65 

The  Literature  in  Visual  Instruction 

A    Monthly    Digest Conducted    by    Etta    Schneider     66 

New  Films  of  the  Month   Conducted  by  L.  C.  Larson  70 

News  and  Notes Conducted  by  Josephine  Hoffman  72 

Current  Film  News 76 

Among   the   Producers 79 


Here  They  Are!  A  Trade  Directory  for  the  Visual  Field. 


80 


SUBSCRIPTION  PRICE 

Domej*ie  $2.00 

Canada  $2.50 

Foreign    $3.00 

Single  Copies JS 


The  EDUCATIONAL  SCREEN  published  monthly  except  July  and  August  by  The 
Educational  Screen,  Inc.     Publication  Office,  Pontlac,  Illinois;  Executive  Office,  64 
East  Lake  St.,  Chicago,  Illinois.     Entered  at  the  Post  Office  at  Pontiae,  Illinois,  as 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lake  St.,  Chicago,  III. 


Page  40 


The  Educational  Screen 


An  ability  to  deliver  far  greater  illumination  to 
the  screen  than  formerly  was  possible  with  a  300-watt 
source  of  light  is  the  outstanding  characteristic  of  the 
Spencer  MK-3  Delineascope.  The  result  is  a  brilliance 
of  projection  which  is  rivalled  elsewhere  only  by  higher 
priced  instruments. 

This  unusual  optical  efficiency  is  the  result  of 
Spencer's  long  years  of  experience  in  the  design  and 
manufacture  of  high  quality  lenses. 

Particularly  important  are  the  ventilation  systems 
which  protect  the  slides  (either  color  or  black-and- 
white)  against  heat  damage. 

Write  Dept.  N12  for  a  descriptive  folder. 


FOR 
AUDITORIUMS 

FOR 
CLASSROOMS 

FOR 
HOMES 


200-waH,  l50-w«tf. 
lOO-waff  models 


Spencer  Lens  Company 


BUFFALO,  NEW    YORK 

Scietitific  Instrument  Division  oj 
AMERICAN     OPTICAL     COMPANY 


4) 


Sales  Offices:  N*wYock,Chicago,SanFrancisco,Wuhinglon, Boston, LoiAng<les,Dallas,Colurabu>,SI.Louii,PhiladclphI<,AII*nU 


February,  1943 


Page  43 


wfffi  your  school  projector 

Keep  your  school  projector  running.  Treat  it  well— but  work  it 
plenty.  Run  MORE  films  than  ever  before— day  and  night— in 
school  and  out!  Films  that  show  civilian  and  soldier  and  soldier- 
to-be  how  best  to  fight  and  to  work  and  to  save  .  .  .  films  that  show 
the  priceless  worth  of  what  we're  fighting  for  .  .  .  films  that  fight 
for  freedom  and  speed  our  victory. 

Never  before  has  the  Filmosound  Library  offered  so  many 
important  and  timely  films  for  rental  and  sale.  Only  a  tiny  fraction 
of  our  resources^an  be  suggested  here.  There  are  literally  thou- 
sands, from  government  and  private  sources,  at  your  call  through 
this  single  comprehensive  source,  the  Filmosound  Library.  Use 
the  coupon,  or  write  us  in  detail  concerning  your  film   needs. 

Army   Air   Force   and 

Navy    Training    Films 

for  Preinduction  and 

Prefliglit  Courses 

The  first  group  of  37  educational 
motion  pictures,  specifically  made 
for  the  training  of  our  armed  forces, 
includes:  highly  instructive  mate- 
rial on  aviation,  airplane  engines 
and  other  parts;  weather,  naviga- 
tion, drill,  and  other  subjects  that 
will  make  high  school  students 
much  better  qualified  to  fill  key 
jobs  in  armed  forces  or  war  in- 
dustries wherever  technical  skills 
are  required.  These  courses  will 
help  inductees  qualify  more  quickly 
for  technical  ratings  and  will  step 
up  their  immediate  role  in  our 
war  effort. 


New  Films  for  the 
Civilian  Front 

The  U.  S.  Office  o/  Education  has 
recently  announced  1  5  new  indus- 
trial training  films,  largely  on  basic 
benchwork  skills,  and  has  140 
more  in  the  making.  Office  of  War 
Injormation  issues  at  least  four  new 
films  each  month.  Office  of  Civilian 
Defense  training  films  are  now  get- 
ting into  use.  And  private  produc- 
tion centers,  like  our  own  Filmo- 
sound Library,  augment  their  ex- 
tensive resources  of  educational 
and  recreational  film,  by  new  re- 
leases on  First  Aid  and  on  the  new 
theaters  of  war,  such  as  North 
Africa,  Liberia,  and  the  Caucasus. 
Our  several  thousand  fine  enter- 
tainment films  likewise  serve  on 
Army  and  home-fronts,  to  lighten 
strain  and  brighten  spirits  of 
fighter  and  worker  alike. 


▲  20-year-old  airplane  ex- 
■  pert.  See  "WOMEN  IN 
DEFENSE"  and  other  OWI 
films. 

^_  President  Barclay  is  fea- 
^^  turcd  in  Prof.  J.  A.  Fur- 
bay's  new  film  "LIBERIA," 
a  Filmosound  Library  "ex- 
clusive." 


::i3iiiiiiiiiiiinBiiiniiiiiiiii 


IIIDIIIBIIIIIIIIIIIIIIIIIIIIIIIIIlllllllllllllllllillllllll 


"ROLLER  BANDAG-  ^ 
ING,"  sixth  single  reel  ^^ 
release  in  EMERGENCY 
FIRST  AID  series,  just 
completed. 


NOTE  PLEASE 

Save  old  lamps — return  them  through  your  dealer  or  direct  so 
that  the  bases  can  be  re-used.  This  saves  critical  war  materials. 

Keep  Your  Pro/eefor  in  "Trim" 

Bell  &  Howell  Modernization  and  Reconditioning  Service 
enables  you  to  keep  your  Filmosound  or  Filmo  silent  projector 
up  to  the  minute  and  in  tiptop  trim  at  small  cost.  This  service  is 
available  to  you  through  your  dealer  or  direct  from  the  factory. 


I     CAN   YOU   SELL  your  Filmosound    j    THE  NEW  v FILMOSOUND 


Projector  to  UNCLE  SAM? 

Critical  material  shortages  prevent  manufacture  of  enough  Filmo-  | 

sounds  to  meet  the  immediate  needs  of  the  armed  forces.  If  every  | 

one  of  your  Filmosounds  is  not  now  doing  a  full-time,  vital  war  | 

job,  we  will  buy  any  you  can  spare,  recondition  where  necessary,  j 

and  turn  over  to  Uncle  Sam.  Check  up  now.  Perhaps  you  can  j 

"double  up"  on  machines,  and  thus  free  one  or  more  for  war  | 

service?  If  so,  WIRE  us  the  following  information:  model,  serial  | 

number,   condition,  and  your  definite  selling   price,  inclusive  of  f 

insured  transportation  to  Chicago.  I 

"E"  rOK  EXCEllCNCE .  .  .  how  the  Army-Navy  Award  for 
extraordinary  performance  is  won  and  presented  is  shown 
by  this  one.reel  sound  film.  Service  charge  50c. 

BUY  WAR  BONOS 

Bell  &  Howell  Co.,  Chicago;  New  York;  Hollywood;  Washington,  D.  C;  London.  Est.  1907. 

MOTION      PICTURE      C  A  M  E  K  A  S      AND      PROJECTORS 


This  new,  compact,  precision- 
built  projector  has  every  feature 
required  for  finest  reproduction 
of  1 6mm.  sound  and  silent  mo- 
tion pictures.  It  is  a  typical  Bell 
&  Howell  engineering  achieve- 
ment, bringing  unexcelled  B&H 
performance  in  spite  of  re- 
stricted use  of  critical  materials 
needed  for  war  production. 
(Available,  for  the  present,  only 
to  government  agencies.) 


COMING    TO    THE    ST.    LOUIS    "N.   E.   A.' 
VISIT    OUR    EXHIBIT  — J  12 


PRECISION-MADE    BY 


(^e/l  a^  (^ou^e^ 


BELL  &  HOWFXL  CO. 

1817  Larchmont  Ave..  Chicafto.  IIL 

Without  obligation,  piease  send  me: 

(  )  Filmosound  Library  Catalog  Supplement  1943A  listing 

preinduction  and  other  training  Alms. 
(  )  Data  on  Emergency  First  Aid  films. 
(  )  Catalog  of  British  Information  Service  Alms. 
(  )  General  data  on  educatioDal  and  recreational  films. 

I  now  have have  not your  1942  film  catalogs. 


Address. 
City 


Page  44 


The  Educational  Screen 


A  Junior  College  Demonstration 


SAMUEL  WEINGARTEN,  Head 
Department  of  the  Humanities 
Wright  City  Junior  College 
Chicago,  Illinois 

THERE  have  been  indications 
recently  in  American  edu- 
cation of  an  awareness  that 
we  have  overemphasized  the  in- 
tellectual development  of  our 
students  and  that  the  proper 
guidance  of  their  emotions  is  one 
of  the  tasks  which  we  must  face 
in  educational  plaiuiiiig.  Wars 
are  won  by  the  arousing  of  men's 
emotions  against  the  enemy  and 
•  by  the  stirring  of  their  emotions 
toward  the  ideals  for  which  they 
are  fighting.  The  former  grad- 
ually disappear  upon  the  conclu- 
sion of  hostilities ;  the  latter 
should  logically  spend  themselves 
in  a  practical  concern  with  social 
reconstruction.  If  the  emphasis 
that  must  be  given  to  technical 
skills,  for  physical  preparedness 
in  waging  a  war  successfully, 
means  a  neglect  in  educating 
students  to  derive  emotional 
satisfaction  through  the  appreci- 
ation of  the  arts,  a  post-war  per- 
iod can  easily  become  one  in  which  the  brutalized  emo- 
tions of  warring  men  find  peace-time  equivalents  of  an 
equally  violent  nature. 

Before  our  entrance  into  the  war.  Professor  Harold 
Rugg,  in  analyzing  the  "Strains  and  Problems  of  a 
Depressed  Society,"  considered  one  of  the  several 
major  problems  in  American  society  to  be  the  need  for 
"sensitive  awareness,  heightened  appreciation  of 
beauty,  and  integrity  of  personal  expression."  Too  fre- 
Cjuently,  he  thought,  "the  concept  of  the  creative  act, 
integrity  of  expression,  self-cultivation,  and  apprecia- 
tion have  been  submerged  and  thrown  into  the  back- 
ground by  the  necessity  for  studying  social  problems."' 
Such  a  condition  will  inevitably  be  more  serious  in  the 
post-war  period  if  educators  permit  courses  in  the 
study  of  the  arts  and  in  artistic  and  musical  expression 
to  perish  or  languish  while  the  world  is  torn  by  war. 
Without  neglecting  their  obligations  to  the  war  effort, 
educators  can  fulfill  dieir  obligations  to  students  in 
their  classrooms  who  will  survive  the  war  to  live  in  a 
war-.scarred  period  of  reconstruction.  One  of  these 
obligations  is  the  ])roviding  of  stimuli  which  will  de- 
velop in  young  people  tastes  and  interests  in  the  arts 
as  sources  of  emotional  satisfaction. 

Most  junior  colleges  offer  courses  in  literary,  music, 
and  art  appreciation  and  practice.  But  what  percentage 
of  the  students  enrolled  in  these  institutions  elect  these 
courses?      Today    especially   students   are   inclined   to 

1.     Democracy  and  the  Curriculum  (Third  Yearbook  of  the 
John   Dewey  Society),  pp.   125-131. 


Studying  exhibits,  models,  prints  and  other  aids  in  the  "Humanities"  Room. 


enroll  in  courses  in  which  the  content  seems  more 
directly  related  to  the  war  effort ;  the  need  for  emo- 
tional adjustment  through  experience  in  the  arts  is 
certainly  for  them  a  less  evident  need  in  the  present 
emergency.  The  wisdom  of  their  instructors  will  be 
seen  in  the  recognition  of  this  need.  In  the  Chicago 
City  Junior  Colleges  students  are  required  to  enroll  in 
a  course  in  which  they  are  introduced  to  experiences 
in  aesthetic  api^reciation — the  Survey  Course  in  the 
Humanities. 

In  this  course,  attention  is  given  to  the  artistic  ex- 
pression of  each  of  the  major  epochs  of  western  cul- 
ture :  writers,  builders,  sculptors,  painters,  and  mu- 
sicians emerge  as  significant  and  important  contributors 
to  our  cultural  heritage.  In  the  integration  of  literary 
and  artistic  expression  with  social  and  intellectual 
history,  we  consider  each  work  of  literature  or  art  as  an 
index  of  the  total  cultural  complex  of  tbe  age  in  which 
it  was  produced.  But  the  educational  pitfall,  in  this 
course,  as  in  special  courses  in  literature,  art,  and 
music  is  that  it  may  became  a  digest  of  the  facts  about 
culture  rather  than  an  invitation  to  students  to  partici- 
pate in  the  understanding  and  a])preciation  of  the  poem, 
the  painting,  or  the  symphony.  The  objective  in  a 
series  of  lectures  which  serve  as  a  preface  to  our 
chronological  survey  of  western  culture  is  to  place 
before  the  students  the  fundamental  i)rinciples  of  liter- 
ature, art,  and  music.  The  specific  illustration  of  these 
principles  is  emphasized  when  we  lead  our  students  to 
participate  in  understanding  and  appreciating  the  con- 


February,   1943 


Page  45 


Room  in  the  Humanities 


A  departmental  room  to 
vivify  cultural  studies  by 


stimulate  and 
visualization. 


A  corner  of  the  room  for  architecture  and  music  students 


Crete  media  of  expression  by  coming  into  direct  con- 
tact with  them. 

"Humanities  Demonstration  Room" 

As  an  instrumein  for  bringing  the  student  into  direct 
contact  with  the  quaHties  of  works  of  art,  Wright 
Junior  College,  one  of  the  Chicago  City  Junior  Col- 
leges, has  a  unique  asset  in  its  "Humanities  Demon- 
stration Room,"  a  room  ecjuipped  with  audio-visual 
aids  which  provide  students  with  op])ortunities  for  ex- 
perience in  the  arts.  I-aboratories  or  work  shops  as 
auxiliaries  in  courses  in  the  basic  sciences  are  not  un- 
common in  American  colleges.  However,  when  such 
rooms  exist  as  aids  in  the  study  of  the  arts,  they  tend 
to  become  "museums"  which  do  not  foster  creative  ex- 
perience. Our  demon.stration  room  is  more  functional 
than  a  museum  in  that  besides  containing  a  variety  of 
exhibits,  it  is  basically  a  room  of  prints  and  recordings 
with  which  students  can  have  direct  experience.  We 
are  unwilling  to  give  a  narrow  meaning  to  "creative 
e.xi)erience"  or  to  admit  that  experience  in  appreciation 
cannot  be  as  meaningful  for  the  individual  as  the  cre- 
ative act  itself.  Aristotle  realized  that  the  exercise  of 
emotion  in  the  spectator  can  result  in  an  emotional 
calm,  an  adjustment  in  him  that  contributes  to  his 
.spiritual  uplift  and  emotional  integration.  We  attempt 
in  directing  understanding  and  appreciation  of  the  arts 
to  make  the  student  aware  of  the  stimulus  of  the 
artist's  emotion,  of  how  intellect  gave  definition  to 
emotion,  and  of  how  the  work  of  art.  the  medium  of 
expression    for   tlie  artist,  is  the   symbol   for   the  .stu- 


dent by  means  of  which  he  can 
recreate  the  experience  of  the 
artist.  This  process  of  creative 
appreciation,  in  wiiich  the  artist's 
experience  is  relived,  is  far  from 
the  inertia  of  the  victim  of 
"s])ectatoritis"  whom  Lewis 
Mumford  has  called  "the  passive 
barbarian." 

The  lectures  on  art  in  our  re- 
c|uired  survey  cour.se  in  the  hu- 
manities are  illustrated  with 
slides ;  books  on  art  which  the 
student  reads  are  amply  illus- 
trated with  black  and  white 
prints,  usually,  however,  too  small 
to  enable  him  to  see  the  details  of 
the  work  and  always  depriving 
him  of  the  color  values  of  the 
work.  In  our  Demonstration 
Room  we  make  available  to  him 
hundreds  of  colored  prints,  large 
ones  mounted  individually,  small- 
er ones  mounted  in  organized 
units  corresponding  to  periods  of 
art  history  and  styles  of  art. 
These  the  student  can  observe 
critically,  aided  by  .study  sug- 
gestions, when  he  spends  some  of 
his  study  periods  in  the  Demon- 
stration Room.  The  series  of 
colored  University  Prints  serves 
as  an  excellent  basis  for  such  a 
collection.  The  colored  prints  in 
Thomas  Craven's  Treasury  oj  Art  Masterpieces  and 
Rockwell  Kent's  World  Famous  Paintings  are  more 
functional  mounted  individually  than  bound  in  I)ook 
form  on  the  library  shelf.  Our  in.structor-librarian, 
recognizing  the  obligation  of  the  library  in  providing 
visual  aids,  has  made  many  prints  available  to  us  from 
such  collections.  Individual  prints  of  sculpture,  as  well 
as  prints  in  volumes,  are  readily  available ;  we  have 
mounted  these  in  large  quantities  for  our  files  especially 
devoted  to  such  works  of  art.  The  illustrative  sets  in 
the  series.  Reconstructing  the  Past  (Mu.seum  Exten- 
.sion  Publications,  Boston  Museum  of  Fine  Arts)  pro- 
vide 30"x40"  prints  of  works  of  art  and  of  phases  of 
their  historical  and  social  settings  in  the  age  in  which 
they  were  produced.  The  four  sets  already  published 
in  this  series — Greek  Athletics  and  Festivals  in  the 
Fijth  Century.  Elizabethan  England,  The  French 
Renaissance,  and  Life  in  Eighteenth  Century  England — ■ 
have  served  as  a  basis  for  our  series  of  mounted  prints 
in  the  files  labeled  as  "Cultural  History." 

Colored  prints  of  stained  glass  windows  of  medieval 
cathedrals  mounted  between  glass  and  so  placed  that 
they  can  be  viewed  against  the  light  give  a  colorful 
background  to  the  room.  The  student  can  experience 
the  beauty  of  their  design  and  color  as  if  he  were  in  a 
cathedral  looking  at  them.  Plaster  bas-reliefs  and 
models  of  architectural  styles — facades,  columns,  etc. — 
prepared  by  the  W.P.A.  Museum  Extension  Center 
sponsored  by  the  Chicago  Board  of  Education,  make 
concrete  for  the  student  the  styles  of  ancient,  medieval, 
and  modern  architecture.     For  detailed  representations 


Page  46 


The  Educational  Screen 


of  building  cross-sections  and  plans  we  have  a  large 
assortment  of  drawings  in  white  on  black  card-boards. 
Selected  items  from  this  collection  and  from  similar 
drawings  on  map-cloth  are  displayed  in  relation  to  lec- 
tures but  the  whole  collection  is  available  to  students 
for  individual  study.  Reference  books  on  art  and 
periodicals  arranged  in  relation  to  these  displays  con- 
tribute to  the  creation  of  an  ideal  study  situation  for 
the  student. 

A  cabinet  of  small  models — Laocoon,  Venus  di  Milo, 
etc. — provides  excellent  illustrative  material  for  the 
study  and  appreciation  of  sculpture.  Models  of  the 
gargoyles  on  the  Paris  Notre  Dame  Cathedral  and  a 
large  variety  of  models  of  Egyptian.  Greek.  Ro- 
man sculpture  are  easily  available  from  museums- 
and  firms  which  specialize  in  providing  this  ty])e  of 
visual  material.  Especially  gifted  students  may  be  en- 
couraged to  prepare  models  of  sculpture  or  pottery: 
one  of  the  most  beautiful  objects  in  our  collection  is  a 
colored  re])roduction  of  the  Egy])tian  Nofrctctc  made 
by  one  of  our  students. 

Another  aspect  of  our  Demonstration  Room  is  the 
section  devoted  to  the  theatre.  Models  of  Elizabethan 
theatres  and  dioramas  of  the  Greek  out-of-doors  theatre 
and  of  modern  stage  .settings  make  the.se  more  vivid  to 
the  student  than  any  drawing  can.     Files  of  illustra- 


Model  of  the  Greek  out-of-doors  theatre. 

tions  of  theatres,  actors,  dramatic  performances,  and 
motion  picture  productions  supplement  these  models 
as  materials  for  the  study  of  drama  and  the  theatre.  If 
the  student  wishes  to  reconstruct  imaginatively  the 
dramatic  performances  of  ancient  Greece  or  of  Eliza- 
bethan England,  he  can  be  aided  by  the  use  of  our  col- 
lection of  recordings  in  which  he  can  find  recordings  of 
passages  from  Sophocles  read  by  \V.  H.  D.  Rouse 
(Linguaphone  Language  Record)  and  albums  of 
Shakespearean  recordings  by  Sothern,  Barrymore. 
Gielgud,   Welles,  and   Evans. ^     The  room  contains  a 


2.  See  especially  A  Cyclopedia  oj  Reproductions  on  Sale, 
Part  I  (N.  Y. :  The  Metropolitan  Museum  of  .\rt,  1942.) 

3.  For  a  complete  list  of  recordings  of  Shakespeare  and 
a  discussion  of  their  use  see  Samuel  Weingarten. 
"The  Use  of  Phonograph  Recordings  in  Teaching 
Shakespeare,"  College  Em/lish  (Oct.,  1939,)  45-61. 


record  player  available  for  playing  recordings  which 
the  student  may  request. 

The  literary  works  which  the  student  reads  in  this 
course  are  pictorially  represented  in  the  Demonstration 
Room.  On  one  wall  of  the  room  and  in  a  special  file, 
he  can  study  76"x50"  copies  of  the  original  title  pages 
of  such  works  as  Cliapnian's  Translation  oj  Homer, 
the  King  James  Version  of  the  Bible,  and  the  First 
Folio  Edition  of  Shakespeare's  plays.  Selections 
from  hooks  arranged  in  an  anthology  do  not  give  the 
student  a  sense  of  the  whole  book ;  an  examination  of 
these  attractive  cojjies  of  title  pages  of  first  editions 
may  motivate  him  to  seek  the  book  rather  than  remain 
satisfied  with  having  read  merely  the  selection. 

The  artists  of  the  W.P.A.  Mu.seum  Extension  Center 
have  cooperated  with  instructors  in  the  course  in  the 
preparation  of  a  series  of  illustrations  in  color  ;  each  of 
these  represents  pictorially  the  essential  spirit  of  a  great 
masterpiece  of  literature.  In  the  center  of  one  of  these 
the  o|)ening  lines  of  the  Prologue  of  Chaucer's 
Canterbury  Tales  are  reproduced ;  the  top  panel  shows 
the  procession  of  the  pilgrims  according  to  William 
Blake ;  the  side  and  bottom  panels  represent  the  pilgrims 
individually  as  in  the  Ellesmere  Manuscript  illustra- 
tions. The  student  finds  it  an  engaging  activity  to 
compare  these  colored  illustrations  with  the  descriotions 
given  in  the  Prologue  which  he  has  read.  If  he  wishes 
to  hear  English  as  it  may  have  been  spoken  by  the 
])ilgrims.  he  can  hear  the  recording  of  the  opening  lines 
of  the  Prologue  as  read  by  Professor  Harry  M.  Ayres 
( The  National  Council  of  Teachers  of  English  Record- 
ing) or  the  recording  of  the  "Pardoner's  Tale''  as 
read  by  Professor  F.  N.  Robinson  (The  Harvard 
University  Phonograph  Records).  Another  illustra- 
tion creates  the  efifect  of  a  page  from  an  Italian  manu- 
script text  of  the  Divine  Comedy ;  in  the  colorful  border 
are  mingled  figures  and  .scenes  from  the  Inferno.  Pur- 
gatorio.  and  Paradiso.  The  Rook  of  Job.  the  Aeieid, 
King  Lear,  Paradise  Lost,  and  Faust  are  similarly 
represented.  Both  the  title  pages  and  the  illustrations* 
have  been  used  in  conjunction  with  book  displays 
furnished  by  the  library  as  a  means  for  motivating 
interest   in   reading. 

Lectures  on  music  are  accompanied  in  our  college  by 
the  use  of  illustrative  recordings.  Our  collection  of  re- 
cordings is  constantly  increased  since  our  instructor- 
librarian  interprets  recordings  of  music  or  the  spoken 
word  as  material  which  may  be  purchased  by  library 
funds.  During  several  hours  each  week  designated  as 
"Music  Appreciation  Periods,"  students  are  given  an 
opportunity  to  listen  to  compositions  and  commentary 
by  an  instructor  who  plans  the  programs.  Whenever 
possible  the  compositions  played  are  coordinated  with 
the  lecture  topics  on  music  in  the  Survey  Course  in  the 
Hiunanities  and  in  the  elective  courses  in  mu.sic  anpre- 
ciation.  We  have  found,  however,  that  the  student's 
interests,  aroused  by  the  lectures  or  by  illustrative  ma- 
terial such  as  the  prints  of  the  Capehart  collection  of 
paintings  related  to  music,  lead  him  frequently  to  wish 

(Concluded  on  pape  58) 

4.  The  preparation  of  visual  material  of  this  type  can  be 
a  very  effective  class  project.  Literary  prints  for 
mounting  on  card-boards  are  accessible  from  many 
sources.  Students  from  art  classes  who  are  especial- 
ly gifted  in  lettering  or  in  illustrating  can  make  valu- 
able contributions. 


February,  1 943 


A    science    center 

in  one  of  the  Mc- 

Donough    County 

schools. 


Page  47 


Community  Resources  Pave  the  Way 


THK  recent  trend  in  education  towards  community 
study  has  led  naturally  to  an  enrichment  of  the 
environment  through  audio-visual  aids.  In  addition 
to  moving  jiictures  these  aids  are  many  and  varied. 
They  serve  to  bring  the  world  into  the  classroom,  and 
they  pave  the  way  for  a  better  understanding  of  na- 
tional and  international  problems  through  a  study  of 
local  resources. 

A  five-year  e-xperimental  project  in  Rural  School 
Supervision,  sponsored  by  the  National  Committee  on 
Rural  Education,  the  Office  of  County  Superintendent 
of  Schools  of  McDonough  County,  and  the  Western 
Illinois  State  Teachers  College  of  Macomb,  Illinois, 
was  begim  in  McDonough  County  in  September.  1940, 
following  a])proxiniately  a  year  of  research  in  the 
county.  The  following  brief  summary  of  one  phase 
of  the  project  will  show  how  the  schools  in  this  par- 
ticular area  are  studying  their  communities. 

As  one  phase  of  the  Rural  School  Supervisory 
Project  being  conducted  in  McDonough  County,  Miss 
Helen  Elaine  .Stenson,  Su])ervisor.  has  taught  an  in- 
service  course  in  Rural  School  Problems  and  an  in- 
service  Workshop  Class  in  Rural  Education  for  the 
rural  teachers  of  the  county.  Through  suggestions  and 
materials  presented  to  this  group,  many  teachers  have 
been  encouraged  to  develop  community  studies  having 
their  origin  in  their  own  schoolrooms.  Their  purposes: 
To  develop  a  better  knowledge  of  the  interdependence 
of  the  .school,  the  liome,  and  the  community :  to  en- 
courage a  deeper  appreciation  and  sen.se  of  values  of 
the  resources  in  science,  music,  art,  literature,  social 
science,  etc.,  which  exist  in  every  communitv ;  to  dis- 
cover the  resources  available  in  the  home.  tJic  school, 
and  the  community  which  contribute  to  the  welfare  and 
happiness  of  the  local  group,  and  in  turn  to  the  larger 
community  of  our  .state,  our  nation,  and  the  world ; 
and  to  stimulate  a  feeling  of  cooperation  and  responsi- 


One  county's  complete  working  schedule 
for  enriching  a  Social  Studies  project 
with    audio-visual    aids    in    rural    areas. 

DOROTHY     I.     DIXON 

Junior  High  School,  Macomb,  Illinois 

bility  between  the  different  groups  for  the  preservation 
and  transmission  of  those  democratic  qualities  which 
must  be  present  in  any  generation  if  it  is  to  pass  on  its 
cultural  heritage  to  its  children. 

In  a  mimeographed  article  on  The  Rural  School  and 
Its  Community,  written  by  Miss  Stenson,  and  used  by 
many  of  these  teachers  as  a  guide  or  outline  for  this 
studj',  she  writes : 

"Meaningful     school    experiences    affect    the    child's 
out-of-school    life   and   the   Hfe  of   the   coniniunity.    We 
teacliers  often  talk  of  'educating  the  public'  and  forget 
that   it  is  a   fifty-fifty  proposition — that  what  we   need 
is  a   mutual   education  of  the  public  and  the   school  so 
that  we  might  better  understand  the  resources  of  each 
in  tliis  job  of  educating  children  and  adults.  We  need 
a    frieiidly    understanding    that    the    home,    community, 
and   school   are    mutually    interested   in    our   children — 
each  can  best  contribute  its  part  when  it  'fits  in'  with 
the   other  parts — so   that   each   child's   learning   experi- 
ences will  be  ill  harmony.     We  can  let  our  community 
reach   into   the   school   to  enrich   the   curriculum   .   .   . 
Every    community    can    contribute    to    the    art,    music, 
literature,    social    science,    and    science    experiences    of 
the  school.     We  can  let  our  school  reach  into  the  com- 
munity .  .  .  Safety  and  health  habits,  good  maiuiers  and 
other   social   habits,  a   love   of  beauty,   and   an   interest 
in    wide   reading  will   usually    find   some    reflections   in 
the   home.     Whether  we   wish   it  or  not,   the   children 
interpret  our  schools  to  the  public!" 
The  ap]5roaches  to  the  community  study  were  almost 
as  varied  as  the  number  of  schools  which  participated. 
With  .some  teachers  and  pupils  it  had  its  origin  in  a 
"Thank.sgiving  Unit,"  during  which  a  .study  was  made 
of  early  homes,  furniture,  schools,  etc.,  and  the  discus- 
sion of  some  of  the  things   for   which  people   in  our 


The  square  dance  at  a  rural  community  meeting. 


country,  in  early  days,  were  thankful.  With  others  it 
developed  during  a  study  of  "Life  in  Early  America" 
when  a  comparison  was  made  between  that  period  and 
"Life  in  Our  Own  Community;"  again,  in  Civics,  the 
study  began  with  the  fall  election  and  its  relationship 
to  the  local  community ;  and  in  still  another  school,  the 
pupils  became  interested  in  where  their  own  families 
came  from  and  why  they  happened  to  settle  in  this  par- 
ticular region.  Soon  the  study  included  other  families 
in  the  district,  and  when  it  was  finally  concluded  the 
children  and  members  of  the  community  presented  a 
])rograni  of  stories,  songs,  and  folk  dances,  and  ex- 
hibited many  results  of  their  study  in  the  form  of  cov- 
ered wagons  and  airplanes,  friezes,  word  lists,  .soap 
and  candles  which  they  had  made,  patchwork  ([uilts 
whose  patterns  they  had  studied,  etc. 

In  almost  all  cases,  the  "perpendicular  unit"  of  study 
was  employed — that  is,  all  the  children  in  the  school 
participated  in  and  contributed  to  the  study,  each  ac- 
cording to  his  own  ability  and  achievement  level.  It 
was  found  to  include  every  subject  matter  field  in  the 
curriculum,  and  of  course  required  much  additional 
and  advanced  preparation  on  the  part  of  the  teachers 
themselves.  Preceding  the  study  each  teacher  made  a 
very  extensive  survey  of  the  resources  of  McDonough 
County.  Since  teachers  and  pupils  were  always  finding 
new  and  more  interesting  things  to  do  and  find  out, 
the  study  developed  into  a  "continuing  unit."  In  some 
of  the  schools,  the  study  was  Iiegim  in  the  school  year. 
1940-1941,  continued  through  last  year,  and  at  the  close 
of  school  in  May,  1942,  the  teacher  and  pupils  were 
planning  ahead  for  their  community  work  next  year. 
In  others,  an  abbreviated  study  of  each  part  resulted 
in  a  correlated  picture  of  the  entire  field,  and  led  di- 
rectly into  a  study  of  "Our  Latin  .Xmerican  Countries" 
this  last  year. 

In  every  case,  many  audio-visual  aids  were  used  to 
supplement  the  textbook  and  factual  material  obtained. 
Such  helps  as  pictures,  graphs,  charts,  maps,  excur- 
sions, old  books  and  newspapers,  bulletin  board  ma- 
terials, letters  to  and  from  former  residents  and  teach- 
ers, exhibits  of  old  tools,  furniture,  dishes,  quilts,  weav- 
ing, etc.,  were  common  in  all  the  schools  to  a  varying 
degree,  and  phonographs,  radios,  and  silent  and  sound 


The  Educational  Screen 

motion  pictures  were  used  whenever  and 
wherever  such  equipment  and  materials 
were  available. 

The  following  material  is  oflfered  with 
a  three-fold  purpose  in  view.  First,  in 
Column  I  is  presented  the  outline  pre- 
pared by  Miss  Stenson  and  included  in 
the  aforementioned  article.  This  was  used 
as  a  guide  by  the  rural  teachers  in  Mc- 
Donough County  for  their  Community 
Studies,  and  each  carried  out  as  many  of 
the  suggested  activities  as  seemed  prac- 
tical and  possible  in  her  individual  situa- 
tion. In  Column  II  are  listed  those 
films  (Group  1)  which  were  available  in 
the  county  for  use  wherever  the  school 
had  electricity,  and  also  suggestions  for 
additional  Audio-  Visual  Aids  which  may 
be  used  in  connection  with  the  films,  and 
other  suggested  activities.  Column  II  Group  2  offers  a 
bibliography  of  aids  suitable  for  use  in  correlating 
the  activities  of  the  local  community  with  those 
of  the  stage,  the  nation,  or  the  world.  It  is  im- 
portant to  remember  in  connection  with  this  material 
that  many  schools  which  had  no  electricity  two  years 
ago,  now  find  it  quite  possible  to  use  projectors  and 
other  audio-visual  aids,  due  to  the  Rural  Electrification 
Project  which  has  reached  a  large  number  of  our  schools. 
Hence  it  is  hoped  that  these  suggestions  may  be  of 
use  to  tho.se  who  are  planning  such  a  study,  and  also  to 
those  desiring  to  continue  the  work  which  they  have 
already  begun. 

We  Study  Our  Community 


Outline   of  Activities 

I — Community   History 

A — Historical  Develop- 
ment traced  through 
study    of 

1 — County   Histories 

2 — Atlases 

3 — Interviews  with  old- 
er residents 

4 — Maps  showing  loca- 
tion of  homes  of 
early   settlers 

5 — Old  pictures,  deeds, 
land  grants,  etc. 

6 — U.  S.  map  showing 
routes  traveled  by 
present    inhabitants 

7 — Stories  of  early  set- 
tlers and  their 
homes 

8 — Dramatizations 

B — History  of  the  school 
pictured    by 

1 — Pictures  of  original 
building,  present 
building,  'and  any 
changes  that  may 
have  occurred  in  the 
interim. 

2 — Reports,  records,  and 
minutes  of  the  early 
schools. 


Suggested    Additional 
Audio- Visual  Aids 

Group  1. 

(Color  film  on  U.S.  Travel) 

This  Amazing  America 

(Y  M  C  A) 
(Color  film  on  Construction) 
The     Making     of     American 

Homes  (Crane  Co.) 

Group  2. 

(Films)  First  Americans 
(Films  of  Commerce), Co/o- 
nial  Children  (Erpi),  Mohawk 
Valley  (  E  a  s  t  m  an  ) ,  Boone 
Trail  (Eastman),  Kentucky 
Pioneers  (Erpi),  Flathoat 
Pioneers  (Erpi). 
(Broadcasts  from  liomes  of 
great  literary  figures  of  Amer- 
ica) American  Pilgrimage,  by 
Ted  Malone. 

(An  opaque  projector  can  be 
used  to  present  these  for  study 
by  pupils,  or  for  Community 
or  P  T  .•X  meetings) 


February,  1943 


Page  49 


3 — Story  of  origin  of 
present  name  of  the 
school. 

■4 — Exhibit  of  old  text- 
books. 

5 — Copy  of  original  deed 
of  land  for  school 
purposes. 

C — Population  Trends 
and  Occupational 
Develop  ment  de- 
picted by 

1 — Maps  or  charts  show- 
ing population  o  f 
community  at  time 
of  first  school  and 
at  present. 

2 — Charts  showing  oc- 
cupations of  the 
early  peoples,  com- 
pared to  those  of 
today. 


D — Interesting  Residents 
— Then  and  Now — 
Studied  through 

1 — Newspaper  articles 

2 — Pictures 

3 — Stories  related  by 
present  residents 

■1 — Old  letters  written 
by  former  residents 
now  participating  in 
state  or  national  af- 
fairs. 

5 — Snapshots 

II — The  School  Community 

A — Survey  of  homes  re- 
sulted in 
1 — Charts       showiiig 
homes   in    local    tax 
area — especially  des- 
ignating  those  from 
which    children     at- 
tend school. 
2 — Maps  showing  school 
routes  (Rural,  High 
School    or    College) 
a — Reports    on    ad- 
vantages   of    at- 
tending   certain 
High  Schools  and 
Colleges. 
3 — Graphs  picturing  the 
number     of     pre- 
school,    elementary, 
and     High      School 
children       attending 
school,  and  the  per- 
centage     of      High 
School  students  who 
continue  on   to   Col- 
lege. 


(This  original  deed  projected 
on  screen  makes  possible  much 
more  detailed  study  by  large 
group) 

Group  1. 

(Films  on  Food  and  Qothing) 
Meat  for  America,  Exploring 
the  Coffee  Continent,  Behind 
the  Cup,  Come  Out  of  the 
Kitchen,  Botany  Clothes  the 
Nation  (all  YMCA),  Algon- 
quin IVatcrs  (Nat'l  Film 
Board). 
Group  2. 

(Glass  Slides)*  Beyond  the 
Mississippi.  (Films)  Alaska, 
The  Old  South,  From  Flax  to 
Linen,  New  England  Fisher- 
ies, Pacific  Coast  Salmon 
(all  Eastman),  Timber  Front 
(Nat'l.  Film  Board  of  Can- 
ada), Clothing  (Erpi),  Ro- 
mance of  Silk  (Amer.  Museum 
of  Nat.  History),  From  Seed 
to  Cloth  (Pathe  with  Harvard 
University),  Territorial  Ex- 
pansion of  the  United  States 
(International  Geographic). 

Group  1. 

(Interesting  film  strips  show- 
ing the  people,  their  hobbies 
and  interests,  can  be  prepared 
by  the  students) 


Group  2. 

(Film)  Birthplace  of  America 

(Bell  &  Howell). 

(Material  mentioned  may  be 
screened  for  more  eflfective 
group  study  by  opaque  pro- 
jector, hand-made  slides,  or 
blackboard  drawing) 


B— Study  of  School- 
Community  needs 
resulted  in 

1 — Beautif ication  of 
school  and  home 
surroundings. 

2 — Library  of  magazines 
and  books  made 
available  to  school 
and  community. 

3^Hot  lunch  projects  in 
many  schools,  in  co- 
operation with 
W.P.A.  Projects. 

Ill — The  Social  Community 

A — ^Survey  of  social 
agencies  revealed 

1 — Churches 

a — Studied  bv  means 
of 

(1)  Pictures  of 
first  (or  early) 
church 

(2)  Recorded 
events  in  life  of 
church 

(3)  Collection  of 
old  Bibles 

(4)  Early  and 
Present-Day 
Hymns 

2 — Libraries 

a — More  appreciated 
and  better  under- 
stood following 

(1)  Study  of  purpose 
and  function  of  each 
type  (Carnegie, 
W.P.A.,  College) 

(2)  Visit  to  near-by 
libraries 

(3)  Cataloguing  and 
rearranging  own 
school  library  for 
more  efficient  use. 


(Photographing  of  well  land- 
scaped homes,  scenic  spots,  or 
attractive  roadside  scenes  may 
be  made  for  use  in  school  and 
community   work.) 


Group  1. 

(Radio)  Excellent  radio  ser- 
mons are  broadcast  from  such 
well-known  churches  as  "The 
Little  Brown  Church  of  the 
Air"  in  Chicago,  and  "The 
Little  Church  Around  the 
Corner"  in  New  York ;  also  to 
be  heard  regularly  are  ser- 
mons by  Dr.  Harry  Emerson 
Fosdick  and  Dr.  Preston 
Bradley. 
Group  2. 

(Film)    The  Washington  Ca- 
thedral. 


(Film)   Inside  the  Library  of 
Congress   (YMCA) 


Scene  from  "Colonial  Children,"  an  Erpi  classroom  film. 


♦All  slides  used  were  from  the  Key- 
stone View  Company. 


Page   SO 


The  Educational  Screen 


3 — Museums 

a — Established  in 
many  schools  for 
permanent  ex- 
hibit of  some  of 
the  material  col- 
lected during 
study. 
4 — Newspapers 

a — Newspaper  offices 

visited, 
b — School  newspaper 

published. 
(Additional  Topics) 
5 — Theaters 
6 — Playgrounds 
7 — Clubs  and  Societies 
8 — Recreation 
9— Hobbies 

IV— The  "Trade"    Community 

A — Studied  and  an- 
alyzed   with 

1 — Local  map  showing 
(direct)  trade  centers 
of  the  community. 

2 — U.S.  Map  showing 
mail  order  centers. 

3 — U.S.  Map  showing 
shipping  centers 
which  buj'  products 
raised  or  grown  in 
the  community,  and 
routes  traveled  from 
farm  to  market. 

4 — Graphs  showing  de- 
velopment of  trans- 
portation with  per- 
centage of  unim- 
proved and  im- 
proved highways 
clearly    shown. 

5 — Models  of  early  auto- 
biles,  trains,  boats, 
trucks,   airplanes. 

6 — Charts  showing  farm 
organizations,  a  n  d 
the  enrollment  in 
each. 

a — Available  speak- 
ers secured  for 
class  and  Com- 
munity or  P.T.A. 
Meetings. 

V — Community  Occupations 


Group  1. 

( In  some  localities,  it  would 
be  possible  to  visit  a  museum ; 
in  others,  the  experience  must 
be  gained  vicariously) 

Group  2. 

(Films)  Background  for  To- 
morrozv  (Atlas  Productions) 
Museum   of  Nahiral  History. 

(Special  number  of  school 
newspaper  could  be  devoted  to 
Community   History) 


A — Types     of     farming 
studied 
1 — General 
2 — Dairy 
3 — Grain 
4 — Livestock 
5 — Truck 

B — Charts  and  graphs 
showing  employ- 
ment of  local  resi- 
dents, employment 
of  city  workers  on 
farms,  and  the  num- 
of  farm  people  em- 
ployed elsewhere. 


Group  1. 

(Lantern  slides  on  which  are 
maps  showing  these  various 
phases  of  the  "trade  commu- 
nity" can  be  prepared  and  pro- 
jected for  group  study) 


Group  2. 

(Films)  Development  of 
Transportation  (Erpi),  A'ni' 
Orleans  (Eastman),  Wheels 
of  an  Empire  (Films  Inc.). 
(Glass  Slides)  Transporta- 
tion, ]' chicles. 


(Filmstrips  are  often  made 
available  by  many  of  these 
organizations,  and  can  be  se- 
cured through  the  United 
States  Department  of  Agri- 
culture) 


Group  1. 

(Lantern  Slides)  Showing 
complete  story  of  an)'  type  of 
farming — From  Seed  to  Loaf, 
The  Proper  Care  of  Cmvs. 
(Film)  A  Planter  of  Colonial 
Virginia  (Erpi) 
Group  2. 

(Films)  From  Wheat  to 
Bread,  Market  Gardening, 
Limestone  and  Marble,  Sand 
and  Clay,  Furniture  Making, 
Anthracite  Coal,  Bituminous 
Coat  (all  Eastman),  Corn 
Farmer,  Arts  and  Crafts  of 
Mexico  (all  F>pi).  Miracle 
of  the  Meadozvs  (Vis.  Ed. 
Sen'ice),  Milk  and  Health 
(March  of  Time). 


C — Charts  or  graphs 
showing  percentage 
of  land  owners  en- 
gaged in  farming 
and  the  percentage 
of  farms  being  cul- 
tivated by  tenants. 

VI — Political  Community 

A — Pictured  through 
maps    and    charts 
showing 
1 — Local   taxation   areas 
2 — Polling  centers 
3 — I'ost  Office  and  Rural 

Mail  Routes 
4— W.P.A.   Projects 
B — Political    Parties    in 
the    community    an- 
alyzed   through    dis- 
cussion and  research. 

C — Politics  of  news- 
papers and  the  effect 
on  the  community 
studied. 

D — Knowledge  of  cau- 
cuses, primaries,  and 
elections  thoroughly 
acquired  as  a  basis 
for  citizenship  re- 
sponsibilities. (Stud- 
ied through  local 
elections.) 

VII — The  "Tourist"   Community 


(Glass  slides)  Community 
Helpers,  Importance  of  Agri- 
culture, Corn  —  America's 
Greatest  Crop. 


Group  1. 

(At  the  time  of  any  caucus 
or  election,  the  fundamentals 
of  such  procedures  may  be 
carefully  studied,  worked  out, 
and  a  duplicate  event  carried 
out  at  school  the  same  day). 

Group  2. 

(Films)  ll'orking  Knowledge 
of  the  National  Government 
(Knowledge  Builders),  Bill 
of  Rights,  Inside  the  F.B.I. , 
Inside  the  White  House  (all 
Y  M  C  A). 


A — Beauty  and  Recrea- 
tion    Spots    of    the 
community: 
1— Ball   Parks 
2 — Tennis   Courts 
3 — Swimming  Pools 
4 — Club   Grounds 
B — Historical  Spots 
C — Conservation     of 

Wild    Life 
1— Plant 
2 — Animal 


Group  1. 

(Films)  Mountain  Magic 
(Nat'l  Film  Board),  Wash- 
ington, Shrine  of  American 
Pafn"o/i.rMi,(Baltimore&Ohio) 

Group  2. 

(Slides)  Our  Nation's  Capital. 
(Films)  Washington,  the  Cap- 
ital City  (Eastman),  Pilgrim 
Days  (Teaching  Film  Custo- 
dians) 


VIII— The   Cultural  Community 


A — Study  of  the  cul- 
tural aspects  of  the 
community    revealed 

1 — Literature 

a — Which  has  grown 
out  of  the  com- 
munity. 

b — That  "fits"  the  com- 
munity. 

c — In  community  yarns" 
and   anecdotes. 

d — In  local  newspaper 
articles  which 
have  literary 
value. 

e — In  original  stories, 
poems,  and  pag- 
eants prepared  by 
children  or  pa- 
trons of  the  dis- 
trict to  tell  the 
community  his- 
tory. 

f — In  types  of  material 
read  in  the  com- 
munity. 


Group  1. 

(A  chance  for  careful  re- 
search— material  from  books, 
periodicals,  newspapers,  li- 
braries. 

Group  2. 

(Films)  Land  of  F.vangeline 
(Bell  &  Howell,  Gutlohn), 
Hansel  and  Gretel  (Nat'l  Mo- 
tion Pictures,  Vis.  Ed.  Serv- 
ice, Wholesome)  Henry  W. 
Longfellow,  John  G.  IVhittier 
(Creative  Ed.  Society,  Ideal 
Pictures). 


February,  194} 


Page  SI 


2 — Music 

a — In  musical  resources 
sources    of    commu- 
nity, 
b — With  a  "local  flavor." 
c — In     types     of     radio 
programs  enjoyed. 
(1)   Radio  programs 
listened   to  at 
school    resulted 
in     analysis     of 
works  of  famous 
composers. 

3— Art 

a — In  the  Art  resources 
of  most  rural  com- 
munities were  found: 

(1)  Rugs  and  car- 
pets (crocheted, 
hooked,  braided, 
woven.) 

(2)  Weaving  (done 
locally  or  found 
in  the  commu- 
nity.) 

(3)  Knitting,  cro- 
cheting,   tatting. 

(4)  Patchwork 
quilts  (study  of 
designs,  tracing 
history  of  old 
designs,  and 
planning  new 
ones.) 

(S)  Samplers 
(study  of  old 
samplers  and  de- 
signing of  new 
ones.) 

(6)  Pottery 

(7)  Old  dishes 

(8)  Woodcrafts 

(9)  Modelling 

(10)  Furniture  De- 
signs 

(11)  Community 
.Xrchitecture 

(12)  Camera    .'\rtists 

(13)  Pictures  (study 
of  composition, 
learning  best 
ways  of  display- 
ing pictures.) 

(14)  Creative  .Art  in 
School 

(15)  Clothing  De- 
signs 

(16)  Interior  Deco- 
rating 

(17)  Gardens  and 
Landscaping 


IX — Community    Health 

.\ — Studied  through  sur- 
vey of  health  re- 
sources and  needs  of 
community 

1 — Number  of  doctors, 
dentists,    hospitals, 


Group  1. 

(Radio  Programs)  W.L.S. 
School-Time  Program,  Co- 
lumbia Sclwol  of  the  Air, 
Damrosch  Music  Appreciation 
Hour. 

Group  2. 

(Films)   Warner's  color  film, 

Song  of  a  Nation    (YMCA), 

The      Symphony      Orchestra 

(Erpi). 


Group  1. 

(An  interesting  feature  of  a 
program  can  be  an  exhibit  in 
which  many  of  these  art  re- 
sources are  displayed  and  ex- 
plained. In  one  particular 
.school,  an  authentic,  historical 
pageant,  written  by  a  lady  in 
the  district,  was  presented  as 
part   of  this   program.) 

Group  2. 

(Film)  Modern  Rug  and  Car- 
pet Making.  Furniture  Making 
(Eastman). 


and  clinics  in  com- 
munity. 

2 — Playgrounds  and  rec- 
reational   resources. 

3 — Community  water 
supply. 

4 — Health  needs  in  the 
community. 


Group  2. 

(Films)  Preventing  Blindness 
and  Saving  Sight,  Care  of  the 
Teeth  (both  Eastman), //car< 
Disease,  Cancer,  Its  Cure  and 
Prei'cntion  (both  March  of 
Time),  City  Water  Supply, 
The  House  Fly  (both  Erpi), 
Carbon  Monoxide,  the  Unseen 
Danger  (A  M  N  H). 


One  needs  only  to  talk  to  the  teachers,  pupils, 
parents,  or  other  community  members  where  this 
study  has  been  made  to  learn  of  the  many  desirable 
outcomes  which  are  very  apparent  to  them.  They 
include  pupil  cooperation,  improved  social  habits 
and  attitudes,  community  interest  and  cooperation, 
increased  interest  in  hobbies  and  other  leisure-time 
activities,  a  sense  of  pride  and  satisfaction  in  a  com- 
pleted project,  added  interest  in  school  work,  and 
a  better  understanding  of  local  environment  and 
its  value. 

Although  the  use  of  some  audio-visual  aids  may  be 
partially  limited  for  the  duration  of  the  war  in 
schools  not  already  possessing  the  necessary  equip- 
ment, it  is  hoped  that  each  teacher  will  utilize  every 


Workmen  assembling  a  table  top — from  the  Eastman  classroom  film,  "Furniture  Making." 


Group  1. 

( Have  test  made  of  water 
supply  by  State  Health  De- 
partment. Show  lantern  slides, 
prepared  to  picture  results, 
at  community  or  P.  T.  A. 
Meetings. 


available  aid  for  studying  her  own  community. 
Thus,  by  helping  others  to  know  about  and  make 
the  best  possible  use  of  our  own  local  resources, 
we,  as  teachers,  can  help  to  direct  the  thinking  and 
planning  which  will  undoubtedly  have  a  part  in 
establishing  and  maintaining  peace  in  the  world  in 
the  days  that  lie  ahead.  In  what  better  place  than  in 
our  schools  and  our  homes  could  this  foundation 
be  laid? 


Page   52 


The  Educational  Screen 


Film  Mutilation  and  Insurance  Protection 


WE  CONGRATULATE  the  Screen  on  Publish- 
ing Dr.  H.  A.  Gray's  article  "The  Matter  of 
Film  Insurance."*  We  need  more  such  ex- 
changes of  ideas  on  the  part  of  those  who  really  set 
the  stage  for  the  use  of  slides  and  films  in  the  classrooms. 

Film  mutilation  is  not  the  subject  of  distress  it  was 
formerly  to  us.  ^Ve  began  our  crusade  against  mutila- 
tion by  making  it  unprofitable  to  the  mutilators.  Care- 
ful inspection  of  slides  and  films  coupled  with  a  carefully 
kept  record  of  the  physical  condition  of  each  slide  and 
print  made  it  possible  for  the  Inspection  Section  of  the 
Exchange  to  definitely  place  the  blame  for  each  mutila- 
tion. The  mutilator  was  assessed  a  charge  based  on 
footage — replacement  cost.  He  was  given  a  month  in 
which  to  pay  the  charge  or  suffer  discontinuation  of  all 
service  from  the   Exchange. 

The  next  step  was  to  soften  the  blow  without  easing 
the  relentlessness.  This  was  accomplished  by  develop- 
ing our  insurance  plan  mentioned  by  Dr.  Gray.  And 
this  plan  works.  It  not  only  works,  but  our  thousands 
of  users  like  it. 

We  created  and  announced  this  plan  in  June  1937. 
The  first  year  we  charged  a  fee  of  three  dollars,  payable 
before  bookings  were  permitted.  This  protected  the 
participant  up  to  $50.  Whenever  a  mutilation  occurred 
the  cost  of  replacement  was  established;  a  statement  of 
the  cost  sent  to  the  oflfender  together  with  a  statement 
of  the  status  of  his  account  which  showed  how  much 
of  his  insurance  protection,  if  any,  remained.  Most 
mutilations  were  valued  under  five  dollars,  and  the  first 
year  only  ten  units  out  of  the  vast  number  of  users  went 
over  the  $50,  and,  therefore  had  to  make  a  cash  settle- 
ment. So  good  was  the  first  year's  balance  that  the 
Exchange  was  able  to  declare  a  dividend  of  $1  to  each 
account.  This  put  the  fee  for  old  u.sers  down  to  $2 
for  the  ensuing  school  year.  Newcomers  continued  to 
pay  the  basic  or  initial  fee  of  $3. 

Because  it  was  impossible  for  the  Exchange  to 
place  responsibility  for  damages  done  by  an  individual 
school  within  a  city  or  county  system,  if  the  city  or 
county  booked  as  a  unit,  the  Exchange  ruled  that  the 
three  dollar  fee  and  fifty  dollar  protection  applied  to 
the  entire  booking  unit  irrespective  of  its  size ;  therefore 
Cincinnati,  Toledo,  Dayton,  Akron  and  others,  which 
book  as  units,  can  only  buy  $50  protection  for  the  en- 
tire system.  If  the  individual  schools  book  separately 
then  each  school  becomes  a  unit  and  can  buy  $50  pro- 
tection. No  unit  may  buy  over  $50  protection.  The 
Exchange  also  ruled  that  a  school  is  a  single  building 
no  matter  whether  or  not  there  operates  in  said  building 
both  a  grade  and  high  school.  The  quota  for  booking 
is  based  on  the  enrollment  of  the  unit. 

The  Exchange  was  able  to  take  care  of  all  damage 
situations  under  the  plans  described  except  that  muti- 
lation known  as  "scratching"  run-ofifs  and  torn  sprockets 
seldom  continue  throughout  an  entire  reel  and  a  few 
dollars  spent  for  new  footage  will  usually  repair  the 
film.  But  scratches  usually  go  through  the  entire  reel 
or  even  a  whole  series  of  reels.  There  was  no  way  of 
meeting  this  situation  except  to  completely  replace  the 

♦The  Educational  Screen,  June  1942,  p.  221. 


B.     A.     AUGHINBAUGH 

Director,  Slide  &  Film  Exchange 
Ohio  State  Department  of  Education 

reel — a  costly  matter  to  either  mutilator  or  Exchange. 
Then  the  next  step  was  taken.  The  Exchange  set 
up  a  cost  schedule  covering  scratching.  This  schedule 
called  for  a  damage  assessment  (against  the  S50  pro- 
tection) of  $10  on  reels  valued  up  to  $25.  C)n  reels 
going  to  $50  the  assessment  was  placed  at  SIS  and 
over  that  $20.  Charges  were  assessed  right  and  left, 
and  when  the  school  year  ended  about  ever\-  user  had 
one  or  more  assessments;  some  barely  escaped  going 
over  the  $50  limit ;  several  cities  did  go  over,  and  a  few 
went  as  high  as  $300.  One  city  became  such  an  offender 
that  the  Exchange  withdrew  service  to  it.  But  no  one 
complained.  The  Exchange's  rulings  were  always  fair, 
honest,  and  lenient.  Above  all  the  Exchange  did  every- 
thing possible  to  please  its  clientele.  But  these  charges 
shot  the  next  year's  assessment  now  to  $6  ($3  for  the 
basic  fee  plus  $3  for  the  share  of  the  damage  total). 

And  then  amid  the  storm  appeared  the  rainbow.  A 
successful  process  for  removing  scratches — not  merely 
for  protecting  against  scratches — was  developed.  There 
are  several  similar  processes  but  Eastman  Kodak  sug- 
gests placing  the  film  for  10  minutes  in  Kodak  D-72 
diluted  with  1  :1  water  followed  by  a  minute  wash  and 
then  immersion  in  a  1  :8  dilution  of  Kodak  F-5-.\  or 
Kodak  Liquid  Hardener  and  a  10  minute  wash.  This 
process  swells  the  gelatine  of  the  film,  closing  the 
scratch.  We  can  report  that  the  treatment  is  not  only 
successful  but  can  be  repeated  as  frequently  as  neces- 
sary. There  are  firms  making  a  business  of  removing 
scratches  from  both  positives  and  negatives.  Tlie  cost 
on  positives  runs  around  $3  for  400  foot  16mm  reels. 

Most  scratching  we  believe  is  not  done  by  dirt  so 
much  as  it  is  done  by  the  development  of  microscopic 
rough  spots  in  the  aperture  plates  or  gate  shoes.  These 
spots  may  be  either  due  to  corrosion  from  moisture  or 
a  wearing  away  of  the  plating.  Makers  of  projectors 
should  not  sacrifice  this  plating — it  should  be  good  or 
it  will  later  cause  the  owner  much  costly  damage  by 
scratching  film.  The  owner  of  a  projector  should  fre- 
quently carefully  examine  the  aperture  plate  and  gate 
shoes  using  a  microscope.  If  there  are  pits  or  worn 
spots  in  evidence  he  should  run  through  a  piece  of  un- 
scratched  film  as  a  test. 

Most  scratching  is  not  on  the  dull  or  emulsidu  side 
as  might  be  expected  but  it  is  on  the  glossy  side  of  the 
film — the  part  that  touches  the  gate.  Most  operators 
clean  the  aperture  but  overlook  the  gate.  To  see  scratches 
on  a  film  do  not  try  to  look  through  it  but  hokl  it  so 
that  the  light  from  a  lamp  or  window  strikes  it  at  an 
angle — then  look  doivn  on  the  film. 

When  scratches  are  new,  or  are  printed  into  a  positive 
from  the  negative,  they  appear  on  the  .screen  as  white 
streaks.  Always  examine  new  prints  sent  you  by  the 
laboratory  to  see  that  they  do  not  contain  negative-made 
scratch  marks  or  scratches  produced  on  a  printer.  When 
scratches  become  filled  with  oil  and  dirt  they  show  as 
black  streaks  on  the  screen. 


February,  1943 


Page   53 


MOTION  PICTURES- 
NOT  FOR  THEATRES 


Part  44. — Interesting  iorms  oi  non- 
theatrical  distribution  devised  and 
tested  over  the  years,  and  some  re- 
lated problems  in  difiicult  markets. 

By     ARTHUR     EDWIN    KROWS 


THE  first  iion-thcatrical  regional  sta- 
tions of  supply  were,  of  course,  the 
theatrical  exchanges  which  conduct- 
ed a  side  service  for  those  who  wished 
to  obtain  films  away  from  the  play- 
houses. The  average  number  of  such 
exchanges  in  a  single  distribution  cir- 
cuit in  the  pre-First  World  War  period 
was  perhaps  twenty-five  subsequently 
expanding  to  about  forty.  The  the- 
atrically recognized  centers,  commonly 
called  "key  cities,"  included  as  they  do 
now,  New  York,  Boston,  Philadelphia, 
Washington,  Pittsburgh,  Indianapolis, 
Cleveland,  Detroit,  Chicago,  Cincinnati, 
St.  Louis,  Kansas  City,  Memphis,  At- 
lanta, Charlotte,  New  Orleans,  Dallas, 
Denver,  Salt  Lake  City,  Des  Moines, 
Omaha,  Los  .^llgeles,  San  Francisco. 
Minneapolis,  Butte,  Seattle  and  Port- 
land, Oregon.  Other  cities  of  later 
prominence  in  the  sj-stem,  are  Albany, 
New  York;  Birmingham,  Alabama: 
Buffalo,  New  York;  Charleston,  West 
Virginia;  Houston,  Texas;  Jackson- 
ville, Florida;  Little  Rock,  Arkansas; 
Louisville,  Kentucky;  Milwaukee,  Wis- 
consin ;  New  Haven,  Connecticut ;  Ok- 
lahoma City,  Oklahoma;  Portland. 
Maine;  San  Antonio,  Texas;  Siou.\ 
Falls,  South  Dakota;  and  Tampa. 
Florida. 

For  some  years  in  the  beginning, 
each  major  distribution  combine  main- 
tained its  own  set  of  exchanges,  caus- 
ing a  highly  wasteful  competition  in 
areas  which  required  comparatively 
little  service;  but  this  was  corrected 
presently  by  trade  agreements  and 
pooled  facilities.  The  General  Film 
story,  in  its  non-theatrical  aspects,  has 
already  been  told.  To  George  Kleine, 
his  pioneer  work  with  Urban  and  Edi- 
son productions,  and  his  prolonged 
devotion  to  the  cause  of  films  in 
churches  and  schools,  the  non-the- 
atrical field  can  never  sufficiently  re- 
pay its  debt.  Lubin,  George  Spoor, 
Selig  and  the  Vitagraph,  Kalem  and 
Gaumont  groups,  all  generously  served 
the  non-theatrical  applicants  of  their 
time. 

It  is  difficult  to  recall  one  producing 
or  distributing  firm  of  the  early  days 
which  did  not.  Carl  Laemmle  of  Uni- 
versal had  an  unwavering  interest  in 
their  encouragement,  and  Universal  still 
has  an  active  non-theatrical  department, 
headed  by  Herman  Stern.  Paramount, 
started  about  1915,  has  always  done  a  large 
business  in  the  line,  even  if  the  profits 
have  been  negligible.  William  Fox  not 
only  made  his  productions  available  to 
the  field  within  reason,  and  sought 
Iiracticable  ways  and  means  to  de- 
velop it,  but  he  made  it  a  standing 
rule  of  his  company  that  any  rabbi, 
priest  or  clergyman  should  have  any 
available  Fox  film  free  of  charge  at 
any    time    for    showing   in    any   syna- 


gogue, church  or  Sunday  School,  any 
hospital,  orphan  asylum  or  home  for 
the  aged.  The  participation  of  Earle 
Hammons  and  his  Educational  Film 
Corporation,  and  Hugo  Reisenfeld 
and  the  Red  Seal  Exchange,  have 
been    mentioned. 

The  Pathe  Exchanges  were  active 
non-thcatrically  and  continuously  over 
the  longest  period  of  years.  When  the 
visual  education  movement  blossomed, 
.'\.  H.  Sawtell  commanded  the  Pathe 
service  from  the  headquarters  in  New 
York  City,  and  cooperated  extensively 
with  school  systems,  notably  in  their 
tests  in  teaching  current  events  with 
newsreels.  His  successor,  as  I  recall, 
was  Charles  Mills,  a  minister's  son 
who  had  been  head  of  the  visual  edu- 
cation department  of  the  Kansas  City 
schools.  When  the  heavy  business  re- 
organization of  Pathe  occurred  and 
Jeremiah  Milbank  became  the  power 
there,  Mrs.  Elizabeth  Richey  Dessez 
took  charge  of  the  division.  In  an  elab- 
orate campaign  to  develop  it,  she  ap- 
pointed various  sub-officers  in  the 
principal  exchanges.  One  of  these 
assistants,  known  for  conspicuous  en- 
ergy and  accomplishment  in  Kansas 
City,  Chicago  and  elsewhere,  was  Miss 
Evelyn  Baker,  today  advertising  man- 
ager of  Educational  Screen. 

The  objection  most  frequently  raised 
to  non-theatrical  distribution  through 
regular  theatrical  exchanges  is  that 
the  booking  arrangements  there  are 
too  inconvenient.  For  one  thing  it  is 
alleged  to  be  a  mere  side  activity. 
Then,  one  must  go  to  a  different  ex- 
change for  nearly  every  picture  de- 
sired. Beside,  the  critics  say,  one  often 
has  to  accept  alternates,  while  possible 
rental  periods  are  usually  too  short. 
Then  there  is  the  generally  higher 
rental.  The  usual  library  of  the  col- 
lege extension  or  social  service  bureau, 
on  the  other  hand,  is  more  frequently 
supported    by    funds    not    of    its    own 


direct  earning,  and  its  fees  are  cor- 
respondingly lower.  Please  understand 
that  I  am  merely  presenting  a  prevail- 
ing point  of  view  in  this  paragraph.  I 
do  not  stand  back  of  these  particular 
observations  as  final  statements  of  the 
case. 

The  1919-1920  decentralization  of  the 
Government  film  supply  of  the  U.  S. 
Bureau  of  Education,  made  non-the- 
atrical exchanges  of  thirty-five  State 
departments  of  education,  universities, 
colleges,  schools  and  museums.  When 
the  Eastman  Kodak  Company  began 
its  library,  it  had  approximately  fifty 
stores  through  which  to  distribute. 
And  De  Vry,  Victor,  Bell  &  Howell 
and  other  projector  manufacturers  had 
their  own  branch  offices  through  which 
to  serve  their  similar  needs.  These 
"branches,"  however,  are  not  always 
dominated  by  the  "home  office."  Com- 
paring the  lists,  one  discovers  the 
names  of  many  non-theatrical  produc- 
ing firms,  film  processing  laboratories 
and,  above  all,  stores  dealing  in  mis- 
cellaneous optical  goods  and  photo- 
graphic supplies.  In  other  words,  most 
of  these  places  have  merely  "taken  on" 
the  work  of  being  local  representatives, 
generally  with  protective  agreements 
whidi  give  them  exclusive  rights  in 
their  own  geographical  areas.  The 
number  of  active  non-theatrical  "ex- 
changes" of  this  type  is,  according  to 
my  actual  count  of  their  listings,  about 
three  hundred  in  the  United  States  and 
Canada,   fifteen   being   in    Canada. 

Large  industrial  companies,  with 
their  "free"  films,  have  tried  using 
their  own  branch  offices  to  serve  local 
areas,  but  the  branch  staffs  rarely 
know  anything  sufficiently  well  about 
film  handling,  and  generally  have  no 
proper  equipment  for  inspection  and 
repair.  They  are  usually  expected, 
however,  to  arrange  shows  where  pos- 
sible,  to  obtain    the   reels  as   required 


Courtesy  DeVry 

A  "theatre  on  wheels"  used  in  World  War  No.  2  to  entertain 
U.S.  troops  in  Australia.  It  is  operated  by  the  Methodist  Home 
Missions,   employing    DeVry   sound   projection    equipment. 


Page  54 


The  Educational  Screen 


from  headquarters,  and  to  attend  to 
shipments.  Their  compensation  and  in- 
centive for  all  this  are  the  opportuni- 
ties to  make  influential  friends  and  to 
develop  sales  prospects  for  themselves. 

Offhand  it  may  seem  that  three  hun- 
dred existing  centers  should  be  ample 
to  supply  non-theatrical  users  with 
films  of  any  desired  type,  but  there  are 
disadvantages  in  this  system  as  in  vir- 
tually any  other.  First  of  all,  it  is 
not  practicable  for  each  center  to  have 
a  complete  library,  or  even  a  full  set 
of  needed  subjects.  Ovi^ners  of  the 
production  negatives  would  not  be  jus- 
tified by  sales  and  rental  possibilities 
in  paying  for  so  many  prints.  There- 
fore copies  are  to  be  found  only  where 
the  demand  for  them  seems  sufficient. 
One  heard  complaints  in  the  early  days 
as  now,  that  the  better  known  libraries, 
such  as  those  of  Bray  Products  and 
Kineto,  had  their  prints  scattered 
piecemeal  over  the  country;  but  who 
is  to  foot  the  bill  if  each  center  is 
given   a    full   collection? 

Any  non-theatrical  library  which  serves 
the  entire  country  altogether  from  one 
central  place  has  serious  disadvantages 
in  zonal  shipping  rates  and  time  lost  in 
transit.  Beyond  a  certain  time  and  space 
the  nominal  rental  usually  quoted  does 
not  pay  the  distributor ;  and  it  may  be 
found  that,  depending  vk-here  he  is  situated, 
he  will  restrict  his  service  to  "States 
east  of  the  Mississippi,"  "the  Pacific 
Slope  only,"  or  "a  thousand-mile  radius 
of  Chicago."  The  Y.  M.  C.  A.  Motion 
Picture  Bureau,  proud  of  its  claim  to 
national  service,  met  this  particular  diffi- 
culty by  opening  a  Chicago  branch  of  its 
New  York  headquarters  to  serve  the 
country  west  of  the  Mississippi,  and,  in 
due  course,  exchanges  also  in  San  Fran- 
cisco and  Dallas.  Ideal  Pictures  Corpo- 
ration, with  headquarters  in  Chicago, 
makes  its  vast  library  of  non-theatrical 
films  nationally  available  through  nine 
additional  branch  offices  located  in  Los 
Angeles,  Memphis,  New  York,  Denver, 
Dallas,  Atlanta,  Portland  (Ore."),  Miami, 
and  Richmond. 

If  a  self-centered,  complete  library 
cannot  afford  a  branch  office,  an  ob- 
vious solution  is  to  have  a  few  im- 
portant distributors  take  over  the 
other  areas — the  Northwest,  the  Mid- 
dle West,  the  South  and  so  on.  Not 
the  entire  three  hundred  distributors — 
just  a  few.  That  cannot  mean  so  very 
many  prints.  As  a  matter  of  fact,  with 
certain  reservations,  this  has  been  done. 

But  there  are  many  complaints  that 
that  independent,  contracting  distributor, 
agreeing  to  represent  a  picture  owner 
elsewhere,  has  other  axes  to  grind.  He 
naturally  will  give  preference  to  pictures 
the  rental  of  which  brings  him  greatest 
return,  or  to  the  product  of  companies 
which  do  the  largest  gross  business  with 
him  over  the  year ;  or  it  may  be  that 
he  will  use  the  picture  as  mere  bait  to 
attract  buyers  of  projectors.  Then  again, 
in  assembling  a  program  for  a  customer, 
he  may  throw  this  picture  into  the  bar- 
gain just  to  swing  the  deal,  a  familiar 
practice  in  theatrical  exchange  work. 
There  are  all  these  substantial  tears.  But 


there  are  also  (praise  be!)  reasons  to 
have  confidence  in  the  business  honesty  of 
most  of  those  who  serve.  Without  the 
im|)lied  factor  of  good  faith  on  both 
sides,  no  agreement  is  worth  the  paper 
it  is  written  on  or  the  breath  required 
to  utter  it. 

Possibly  because  of  a  distrust  of  the 
system,  or  perhaps  merely  that  a  pic- 
ture owner  does  not  wish  to  wait  tor  a 
long  period  of  rental  for  the  return  on 
his  investment,  or  maybe  even  just  be- 
cause he  thinks  it  more  profitable,  the 
producer  may  decide  to  sell  outright.  He 
has  open  to  him,  then,  the  plan  of  split- 
ting his  property  rights  into  several 
parts,  and  selling  each  to  a  different 
distributor  who  will  thereafter  have  the 
privilege  of  obtaining  prints  from  the 
designated  laboratory  where  the  nega- 
tive is  held,  and  will  hold  supreme  con- 
trol over  showings  in  a  specified  area. 
This  regional  franchise  plan  corresponds 
with  the  so-called  "State  rights"  sys- 
tem in  theatrical  booking.  Within  his 
own  geographical  frontiers,  then,  the 
franchise  holder  may  usually  book  the 
film  in  any  place  of  exhibition  he 
chooses — school,  church,  club,  or  any- 
where else  not  exceeding  the  privileges 
of  the  original  owner.  To  all  intents  and 
purposes,  within  his  area,  he  is  the  owner. 

That  is  one  of  the  drawbacks  to  out- 
right sale.  The  owner  of  a  print  is  dif- 
ficult to  restrain,  and  the  possibilities  of 
holding  him  to  certain  forms  of  rental, 
even  when  he  has  promised  in  a  contract 
to  conform,  are  remote.  He  just  has  to 
be  trusted.  One  skeptical  producer  friend 
of  mine,  concluding  that  virtually  no 
weak  human  being  will  resist  temptation, 
assumes  that  mere  promises  of  this  sort 
will  not  be  kept,  and,  omitting  them, 
holds  up  the  opportunities  which  he  is 
satisfied  that  the  customer  will  take  any- 
way, as  extra  inducements  to  buy.  That 
seems  to  me  to  be  at  least  astute. 

The  "block"  method  is  as  expedient 
in  non-theatricals  as  in  theatrical  cus- 
tom. There  is  just  as  inucli  merchan- 
dizing effort  and  expense  in  selling  one 
picture  as  in  disposing  of  a  set.  .so  effi- 
ciency experts  usually  prefer  to  con- 
centrate on  selling  the  set.  Moreover, 
with  a  customer  known  then  to  be  using 
a  number  of  films  over  a  period  of 
time,  additional  .services  may  be  better 
planned  and  business  at  headquarters 
more  flexibly  run.  Also,  if  delivery  of 
the  full  set  is  to  be  gradual,  as  succes- 
sive pictures  are  required,  it  may  be  that 
the  money  advanced  to  cover  the  later 
subjects  may  be  made  to  finance  their 
production.  The  law  is  generally  stern 
about  the  "sale"  of  non-e.xistent  prop- 
erties   in    this    manner,    but    the    act    is 


JB'Oi/C/IT/O^ 


nevertheless  commonly  performed  and 
frequently  without  disaster  because  the 
contract   is  ultimately   fulfilled. 

There  are  many  ingenious  schemes  of 
block  selling.  One  of  the  "Chronicles  of 
America"  rental  plans  is,  I  believe,  to 
organize  forty  students  to  take  a  course 
of  study  based  on  the  exhibition  of  fif- 
teen historical  pictures,  each  member 
paying  five  dollars  for  the  privilege  of 
attending  the  series.  Robert  Glasgow 
contemplated  a  plan  in  which  a  salesman 
would  station  himself  at  a  county  .seat 
and  remain  there  until  he  had  sold  to 
all  the  school  systems  in  the  area,  seek- 
ing principally  to  induce  wealthy  philan- 
thropists to  purchase  full  .sets  and  do- 
nate them  as  memorials  to  local  educa- 
tional institutions.  .'\t  least  a  small  part 
of  this  scheme  was  realized.  Some  of 
the  endowed  sets  are  therefore  in  active 
service.  Some  are  not.  I  know  of  one 
which  has  lon,g  been  in  the  possession  of 
a  large  carpet  manufacturing  company 
for  the  patriotic  stimulation  of  its  em- 
ployees, and  never  used  because  the  com- 
pany had  no  means  of  showing  it  and  no 
idea  of  what  else  to  do  with  it. 

One  of  the  most  ingenious  sales  pro- 
jects I  have  ever  known  in  non-theat- 
ricals is  the  plan  which  A.  P.  Hollis 
devised  for  De  Vry's  picture  library  in 
1924.  With  his  characteristic,  practical 
accommodation  of  service  to  market 
conditions,  he  concluded  that  one  way  to 
do  business  with  the  schools  would  be 
to  encourage  their  desire  to  assemble 
their  own  film  programs.  Having  made 
such  assemblies,  naturally  they  would 
wish  to  own  them.  So  Hollis,  in  this 
instance,  instead  of  assembling  his  ma- 
terial into  reels,  kept  the  individual  items 
in  3Smm  negative  rolls  of  about  fifty 
feet  each,  inviting  teachers  to  order  and 
purchase  prints  therefrom  as  they  wished. 

It  may  be  that  the  picture  owner  pre- 
fers not  to  sell,  and  at  the  same  time 
believes  that  no  distributor  is  abler  to 
handle  his  film  than  himself.  He  may  also 
be  of  the  opinion  that  the  extra  time  and 
expen.se  of  reaching  the  nation's  re- 
motest users  from  one  central  library  are 
not  prohibitive.  Think  of  the  case  of 
Davis  &  Geek,  of  New  York  City, 
makers  of  surgical  sutures  and  anaes- 
thetics. They  have  their  own  advertising 
films  to  demonstrate  their  products  (pro- 
duced mainly  by  Caravel),  and  manage 
their  own  distribution.  But  their  expe- 
rience is  unique.  It  is  said  that  they 
employ  no  regular  field  representative 
and  use  no  advertising  other  than  these 
reels.  The  pictures  are  sent  to  a  dealer 
who  is  naturally  interested  in  their  prod- 
ucts, screened  by  him  and  held  until  he 
receives    a     forwarding    address    to    an- 


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ni»nssioNAL 


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TtAcHCR     Classroom     5cm/nahy     Insphutiomal    P»*eTiri<»N«J«   Stvdfnt     cSse         Pu#tic  Rccoru    Public 

TJtWKiHo    APPAMTUS  VixsroKi    RewTiowa  inrmmation 

The  wide  scope  of  the  non-theatrical  field  of  motion  pictures  is  clearly  shown  by 
this  provisional  breakdown  into  its  varied  uses.    Under  four  broad  headings  each 


February,   1943 


Page   55 


other  dealer.  The  same  |)roce(lure  is 
{ollovved  there.  When  tlic  third  dealer  has 
seen  the  films  the  reels  are  returned  to 
Davis  &  Geek  for  inspection  and  pos- 
sible repair.  I  have  seen  some  of  these 
pictures,  and  have  had  the  distribution 
plan  explained  in  detail  for  iny  benefit. 
The  pictures  are  admirable,  and  with  the 
plan  I  have  been  greatly  impressed. 

Doorstep  Delivery 

In  niodcrn  merchandising — or  in  old- 
time  merchandising,  for  that  matter — the 
establishment  of  regional  stores  is  not 
by  any  means  the  final  step.  Advertising, 
in  all  of  its  pertinent  phases,  must  make 
potential  customers  aware  of  the  availa- 
bility of  product,  stimulate  their  buying 
desires  and  develop  their  habits  of  use. 
For  a  continuing  business  this  presuj)- 
poscs  many  things — that  the  product  is 
useful,  that  the  prospective  customer  has 
the  means  to  obtain  and  avail  himself 
of  the  benefits,  and  much  more,  indicating 
again  what  was  said  pages  ago  about  a 
smcKJth-running  niachnie  being  smooth- 
running  in  all  of  its  parts.  Unhappily, 
these  assimiptions  cannot  yet  be  sup- 
ported in  this  strange  business,  and,  to 
make  the  machine  go  at  all,  the  working 
factors  must  themselves  individually 
take  on,  in  addition  to  their  natural 
duties,  the  obligations  of  factors  now 
represented  merely  by  gaps.  For  in- 
stance the  distributor  may  have  to  help 
the  customer  raise  the  money  to  pay  for 
his   films. 

For  instance,  again,  not  all  ol  the 
potential  users  of  non-theatrical  films 
have  projectors  or  screens  for  their  ex- 
hibitions. So  the  regional  distributors  are 
almost  invariably  prepared  to  show  the 
pictures  as  well  as  to  rent  them.  In 
short,  they  stand  ready  to  put  on  the 
entire  show  whenever  and  wherever  the 
customer  wishes  it.  Indeed,  the  earnest 
distributor  commonly  prefers  to  put  on 
the  show,  because  then  he  knows  that 
it  will  be  presented  as  it  should  be  for 
the  full  satisfaction  of  the  customer.  The 
customer,  having  seen  how  much  better 
it  is  to  have  professional  attention,  may 
probably  call  for  the  service  next  time.  too. 

There  can  lie  a  lot  of  nuisance  about 
(lusting,  oiling  and  testing  the  old  pro- 
jector, running  power  and  light  cables, 
hanging  screens  and  rigging  loud-speak- 
ers if  there  is  sound  accompaniment,  and 
more  often  than  not,  the  customer  is  glad 
to  be  rid  of  the  responsibility.  Jam  Handy 
Iniilt  his  remarkable  business  on  this 
tlieory,  or  perhaps  on  that  policy  so 
admirably  expressed  in  George  East- 
man's Kodak  Company  slogan,  "You 
press  the  button — we  do  the  rest,"  pro- 
viding the  complete  motion  picture  serv- 
ice, with  nothing  for  the  customer  to  do 


r 


/Axx/sT/fy 


but  gather  the  audience  and  pay  the  bill. 

In  these  circumstances  there  grew  up 
with  the  business,  beginning  so  far  back 
as  the  days  of  .Archie  Shepard  and  Ly- 
man Howe,  a  class  of  motion  picture 
projectionists  who  had  their  own  equip- 
ment and  rented  it  with  their  own  serv- 
ices "to  put  on  shows."  As  needs  de- 
veloped, they  acquired  improved  screens, 
additional  lenses  for  "long"  and  "short" 
throws,  collapsible  booths,  extension 
cables,  portable  rewinders,  and,  in  short, 
all  of  the  paraphernalia  which  conven- 
ience and  competition  have  evohcd.  They 
rarely  emerged  from  the  ranks  of  theat- 
rical projectionists,  but  began  more  often 
as  handy  men  around  studios  and  labora- 
tories, where  prints  were  screened  for 
insi>ection.  I'requently  they  w-ere  former 
lantern-slide  operators  who  had  neg- 
lected to  move  into  theatrical  projection 
when  that  overcrowded  trade  of  today 
was  easily  open  to  newcomers. 

Many  of  the  more  successful  ones 
founded  their  little  businesses  on  the  de- 
pendable patronage  of  large  industrial 
plants  where  portable  projection  was 
occasionally  needed  in  addition  to  noon- 
hour  shows  for  employees.  A  case  in 
point  is  that  of  William  Alexander  of 
Newark,  who  for  years  was  projection 
assistant  to  .\.  J.  Van  Brunt,  director  of 
safety  education  for  the  Public  Service 
Corporation  of  New  Jersey.  The  bed- 
rock of  liis  present  establishment  was  the 
work  which  he  obtained  with  fair  regu- 
larity there.  Between  times  he  filled  in 
witli  projection  for  .schools  and  churches. 
Today  Alexander  has  several  projection 
units,  under  as  many  well-trained  assist- 
ants, caring  for  non-theatrical  shows  in 
a  large  part  of  central  New  Jersey. 
George  Cole,  now  the  prosperous  head 
of  the  King  Cole  Entertainment  Service 
in  New  York  City,  was  once  a  projec- 
tionist at  Kineto,  in  the  Masonic  Temple 
Building.  He  gradually  pieced  his  es- 
tablishment together  by  soliciting  shows 
tlirough  film  lalxjratories  and  non-theat- 
rical producers.  Similar  specialists  in 
projection  have  arisen  through  natural 
contacts  such  as  these  in  various,  active 
non-theatrical  areas  throughout  the  na- 
tion. They  are  the  men  who  figure  most 
prominently  in  what  is  known  now  as 
the  "road-show"  division.  Theatrical 
managers  frequently  call  them  "jack- 
rabbit"  exhibitors. 

With  their  business  mainly  in  caring 
for  non-theatrical  customers,  other  pa- 
trons being  cared  for  in  the  theatres, 
they  do  occasionally,  in  irregular  circum- 
stances such  as  at  charitable  affairs,  show 
current  entertainment  features.  In  cer- 
tain areas,  where  tliere  are  many  "dark 
towns" — that  is,  communities  where  it  is 
not    practicable    to    maintain     theatres — 


?u0ue  Utiiittes 


InousntMl, 


Club 


NoN'Thcatr/cal 


Rec«w>s    Puaiic         ^wteA      PufcLic  Sa^s        AovcKTisjua    Special      '^notYi'noHM.    OlteANizATiow  ENntnTAirtMErtT 

RCLAnONS      TRAiHIN*      ftCtATlOt,|5       TaAINIHG  (MTCRC^T 

of  ten  major  groups  subdivides  into  films  for  internal  purposes  and  those  for  ex- 
ternal, public  effect.    The  chart  applies  equally  well  to  all  kinds  of  production. 


these  road-show  men  have  developed 
important  business  on  a  plan  essentially 
like  that  of  the  tent  chautauquas.  Te.xas 
is  a  familiar  field  for  it.  With  varia- 
tions, the  scheme  runs  this  way:  The 
projectionist  service  man  prevails  upon 
the  local  merchant  grouj)  to  present  a 
free  motion  picture  entertainment  which 
will  draw  crowds  from  which  tradesmen 
are  certain  to  gain  tlieir  respective  shares 
of  increased  patronage.  For  this  ad- 
vantage tlicy  will  pay  $100  i)er  night, 
say,  and  the  service  will  provide  the 
sliovv.  Five  or  si.x  neighboring  com- 
nuinities  are  canvassed  in  the  same  way 
until  the  service  man  has  contracted  for 
exhibitions  covering  every  night  in  the 
full  week.  For  the  next  .succeeding  week 
he  moves  with  his  show  to  another 
group  of  towns.  Programs  presented  in 
this  manner  are  surprisingly  packed  with 
"free"  non-theatrical  reels,  the  showmen 
thus,  of  course,  increasing  their  own 
margins  of  profit. 

Non-theatrical  road-shows  are  especi- 
ally satisfactory  where  there  are  large 
audiences  and  .3Smm  film  is  used,  for 
to  these  occasions  the  operators  usually 
bring  arc  illumination — so  much  more 
penetrating  and  brilliant  than  long  dis- 
tance effects  of  incandescent  bulbs — -and 
two  semi-professional  machines  to  ob- 
viate the  necessity  of  stojjping  to  change 
reels  when  there  is  only  one  projector. 
The  "duplex"  equipment  is  generally  in 
excellent  running  order,  spare  parts  are 
available  for  emergencies,  and  over  all 
there  is  a  better  compliance  with  fire 
bws  than  in  the  ordinary  amateur  show. 
But,  of  course,  service  such  as  this  is 
not  to  be  had  without  someone  paying 
for  it,  and  the  projection  item  alone,  for 
an  evening  of  movies,  may  easily  and 
legitimately  run  from  fifty  dollars  to  a 
hundred. 

The  modern  specialist  projection  serv- 
ice maintains  automobiles  for  carrying 
its  i)araphernalia  to  and  from  the  show 
locations.  Frequently  it  is  an  ordinary 
private  car  in  which  the  operator's  family 
finds  recreation  apart  from  business 
hours.  On  the  other  hand,  it  may  be 
an  elaborate,  especially  designed  truck, 
in  which  the  e<|uipnient  may  he  used  for 
outdoor  projection — in  parks,  or  at 
street-corner  political  rallies — the  pro- 
jector being  inside  the  vehicle,  tacing 
backward,  and  a  .screen  being  rigged 
outward  from  the  tailboard.  In  areas 
where  there  arc  showings  in  places  not 
supplied  with  electricity,  such  trucks  are 
fitted  also  with  motor  generators.  Trucks 
as  complete  as  this  are  most  familiar  in 
backward  sections,  the  isolated  mountain 
communities  of  the  South,  for  example, 
where  social  service  agencies  are  labor- 
ing with  every  available  aid  to  spread 
constructive  ideas.  They  have  been  used 
extensively  in  anti-tuberculosis  drives  in 
North  Carolina,  and  were  employed  there 
so  especially  from  1920  to  1923. 

While  I  am  unable  to  name  the  first 
truck  show,  I  believe  that  I  am  safe  in 
assigning  1912  to  the  approximate  time 
when  the  idea  of  having  such  exhibitions 
began  to  spread  in  America.  I  recall 
seeing  one  in  a  country  village  in  north- 
ern New  York  State  before  1910.  In 
(Continued  on  page  79) 


Page   56 

TRAINING  FILMS  Featured 
at  Vocational  Meeting 


XXTT 


Operations  seen  in  the  U.  S.  Office  of  Education  films.  (Top 

to    bottom)    "Scraping    Flat    Surfaces"    and    "Reaming    with 

Straight  Hand  Reamers"  (from  Bench  Work  series) ;  "Drilling 

Hole   in    Pin"    (Operations    on    the    Sensitive    Drill). 

(Distributed  by  Castle  Films) 


The  Educational  Screen 

IS  no  longer  a  matter  of  convenience  or  a 
question  of  whether  or  not  we  have  time  to  show 
training  fihns  in  America  today.  Rather,  the 
question  is  whether  we  can  afford  not  to?" 

Thus,  did  Floyde  E.  Brooker,  director  of  war  train- 
ing fihns  for  the  United  States  Office  of  Education, 
summarize  discussions  at  the  conclusion  of  the  inaugural 
"Vocational  Visual  Aids  Section  Meeting"  at  the  an- 
nual conference  of  the  American  Vocational  Associa- 
tion in  Toledo.  December  2-5. 

In  describing  the  great  strides  made  in  the  production 
and  utilization  of  films  for  instruction,  Brooker  pointed 
out  that  the  American  Army  and  Navy  have  the  great- 
est program  of  training  film  production  under  way  in 
the  history  of  the  world.  The  Navy  has  appro.ximately 
1,0(X)  training  films  under  production  and  the  Army  is 
working  on  an  equally  impressive  program.  The  United 
States  Office  of  Education  is  producing  from  120  to 
150  motion  pictures  and  approximately  150  film  strips 
to  help  speed  vocational  training  of  war  production 
workers.  This,  in  addition  to  the  forty-eight  subjects 
produced  by  the  Office  of  Education  since  the  late 
months  of  1941.  "Mass  production  demands  mass  in- 
struction, and  motion  pictures  and  slidefilms  are  prov- 
ing that  they  are  without  equal  in  the  task  of  imparting 
new  skills  to  large  numbers  of  people,"  said  Brooker. 
"The  Army,  the  Navy,  and  our  vocational  schools  are 
being  forced  into  the  use  of  visual  aids  to  meet  our 
present  demands  for  mass  instruction." 

Plans  for  the  first  training  films  produced  by  the 
United  States  Office  of  Education  for  instruction  of 
war  production  workers  were  laid  in  January  1941, 
almost  a  year  before  Pearl  Harbor.  When  the  Japanese 
launched  their  sneak  attack  upon  the  great  American 
naval  base  in  the  South  Pacific,  eighteen  of  these  sound 
motion  pictures  were  available  for  distribution  to  classes 
for  vocational  training  of  war  production  workers  both 
in  the  public  schools  and  industry.  These  films  carried 
the  brunt  of  the  vocational  visual  aids  program  during 
the  first  months  of  the  war  when  mushrooming  war 
factories  needed  millions  of  trained  workers  to  man  the 
machines  on  the  production  front. 

"At  the  outset  of  the  war,  Germany  had  a  head  start 
on  the  rest  of  the  world  in  training  films  as  well  as 
in  airplanes  and  tanks  and  guns,"  said  Brooker.  "In 
1940,  the  Nazis  had  five  times  as  many  16mm  motion 
picture  projectors  per  capita  as  did  we  in  the  United 
States.  They  had  produced  twenty  times  as  many 
training  films  and  they  were  making  fifty  times  as  much 
use  of  them.  There  is  no  doubt  that  films  played  a 
major  role  in  imparting  skills  to  civilians  and  soldiers 
during  Germany's  amazing  rise  to  power  in  the  years 
when  she  was  preparing  for  her  present  conquests." 
Accelerated  production  of  training  films  does  not  of 
itself  guarantee  that  America  will  outstrip  her  enemies 
in  utilization  of  visual  aids  for  mass  training.  The 
Nation  faces  a  shortage  of  men  skilled  in  efficient  use 
of  training  films  and  these  men  are  sorely  needed  to 
help  train  other  instructors. 

The  films  which  are  being  produced  today  by  the 
Office  of  Education  are  tested  by  essentially  the  same 
criteria  that  was  developed  before  Pearl  Harbor, 
Brooker  explained.  In  order  to  pass  this  test,  the  film 
must  be  practical,  it  must  be  highly  specific,  and  it  must 


February,    1943 


Page   57 


Left:  Floyde  E.  Brooker  and  J.  C.  Coffey  discuss  chart  on  the  development  of  training  films.   Right:  Display  of  National 
Audio- Visual  Council  Teaching  Guides  for   Office   of   Education  Films  at  Vocational  Visual  Aids  meeting. 


show  tlie  material  in  great  detail.  "These  and  other 
filin.s  under  production  are  facilitating  the  transition  of 
visual  aids  from  a  period  when  they  were  looked  upon 
as  the  frills  and  fads  of  education  to  where  they  are 
regarded  as  basic  instructional  materials  as  essential 
as  textbooks  or  the  blackboard." 

Des])ite  the  ever  increasing  use  of  training  films  iij 
America,  we  are  still  in  the  Stone  Age  of  visual  aids, 
in  Brooker's  judgment.  He  predicted  new  techniques 
both  in  the  production  and  utilization  of  films  and  said 
that  we  have  but  scratched  the  surface  of  the  potential 
use  of  pictures  for  instruction.  He  suggested  that  the 
present  motion  picture  projector  might  compare  with 
the  projector  of  tomorrow  as  the  famous  Model  T 
compares  with  the  motor  car  of  the  future.  "But  no 
longer  are  the  pro's  and  con's  of  visual  aids  a  subject 
for  emotional  academic  discussion.  We  are  approaching 
the  production  and  use  of  training  films  from  a  scientific 
basis  and  we  must  continue  in  this  direction." 

Norman  Mathews,  director  of  the  motion  picture  di- 
vision of  Bell  Aircraft  Corporation.  Buffalo,  contributed 
a  behind-the-.scenes  description  of  the  production  and 
use  of  training  films  in  one  of  America's  vital  war 
industries.  This  program,  he  explained,  was  born  of  the 
need  existing  at  the  outset  of  the  war  for  training  many 
men  rapidly.  A  motion  picture  division  was  established 
at  Bell  Aircraft  in  April,  1942,  and  work  began  im- 
mediately on  the  production  of  a  series  of  training 
films  on  subjects  requested  by  the  United  States  Army 
Air  Force  and  the  Bell  Aircraft  service  department. 

"From  a  motion  picture  standpoint,  the  qualities  we 
sought  from  the  outset  were  neither  complex  nor  very 
obscure,  but  we  felt  they  were  sound,"  Mathews  ex- 
plained. "Our  first  concern  was  with  the  visual,  for 
it  was  our  feeling  that  pictures,  not  sound,  should  carry 
most  of  the  information.  Thus  we  sought  to  design  our 
films  with  a  logical  and  coherent  picture  continuity. 
We  were  gratified  to  hear  the  comment  at  the  screening 
of  a  silent  rough  cut  of  our  first  picture  that  no  sound 
track  was  needed  to  make  clear  the  procedure  of  the 
operations  shown." 


"We  tried  at  all  limes  to  keep  our  audience  in  mind 
so  that  when  the  camera  moved  about  the  complex 
mechanism  of  the  airplane,  it  would  be  known  at  all 
times  just  where  we  were  and  where  we  had  been.  We 
wanted  to  show  as  much  as  possible  an  operation  as 
it  would  appear  to  the  individual  who  was  to  tackle 
this  particular  job  himself."  The  function  of  the  spoken 
commentary  in  the  Bell  Aircraft  films  was  to  be  sup- 
])lementary  to  the  meaning  carried  by  the  picture  and 
to  lend  emphasis  wherever  needed.  The  narrator  was 
instructed  to  "come  oflf  his  high  perch  from  behind  the 
screen  and  to  talk  a  little  more  ^mth  the  fellows  rather 
than  at  them."  This  was  accomplished  by  a  combination 
of  writing  and  delivery. 

"Aside  from  the  spoken  commentary,  synchronous 
sound  is  used  for  the  instructional  value  it  can  con- 
tribute." he  .said.  ".Sound  effects,  that  is,  natural  sounds, 
figure  largely  here,  and  in  some  instances  are  indis- 
pen.sable  to  the  meaning  we  wish  to  convey."  Mathews 
corroborated  the  experience  of  the  United  States  Office 
of  Plducation.  as  reported  by  Brooker.  to  the  effect  that 
the  success  of  training  films  depended  largely  upon  the 
inclusion  of  elaborate  detail.  The  advice  of  the  Bell 
Aircraft  service  department  was  "to  leave  no  cotter 
key  unturned,"  and  this  was  found  to  be  sound  advice 
in  ])roducing  the  films  to  meet  the  needs  both  of  pilots 
and  service  men. 

The  training  films  produced  by  the  United  States 
Office  of  Education  are  designed  as  teaching  aids  and 
are  not  intended  to  supplant  the  shop  instructor,  C.  F. 
Klinefelter,  assistant  to  the  U.  S.  Commissioner  of 
Education,  made  clear  in  his  paper  presented  at  the 
Toledo  conference.  For  this  reason,  none  of  the  motion 
pictures  attempt  to  cover  each  and  every  operation  in 
the  subject  treated.  It  was  agreed  that  certain  things 
should  be  left  out  so  that  the  shop  instructors  would 
recognize  at  once  that  they  must  do  some  active  teach- 
ing theuLselves.  "The  primary  test  that  was  applied  as 
to  material  that  was  to  be  left  out,  and  that  which  was 
to  be  included,  was  whether  or  not  the  point  to  be  in- 
cluded was  one  that  the  average  shop  instructor,  even 


Page  58 


The  Educational  Screen 


if  relatively  experienced,  would  normally  have  some 
diflficulty  in  putting  over  to  a  group  of  trainees." 

J.  C.  Coffey,  of  the  Jam  Handy  Organization,  spoke 
on  the  subject,  "Why  Don't  More  Teachers  Use 
Films?"  and  presented  some  of  the  reasons  for  this 
situation.  He  stressed  the  point  that  to  use  films  suc- 
cessfully the  individual  teacher  must  bring  together  the 
right  print,  right  projector,  right  operator,  right  class- 
room, and  right  class  as  a  prerequisite  to  the  success- 
ful use  of  lighted  pictures.  The  speaker  then  discusse'' 
each  of  these  "rights"  from  the  teachers'  angle. 

He  emphasized  the  fact  that  the  visual  aid  is  sup- 
plementary, not  accurately  fitted  to  the  curriculum,  and 
that  the  teacher  personally  must  do  the  "fitting."  That 
this  "fitting"  involves,  on  the  teacher's  part,  timing,  in- 
troduction, conclusion,  and  test.  He  or  she  must  first  fin  ' 
out  what  the  visual  aids  look  like,  and  must  make  • 
•^r-lection  on  the  basis  of  (a)  previous  knowledge  (1  ^ 
•vritten  description  in  visual  aid  catalog  (c)  opinioi'" 
of  associates  or  (d)  actual  preview — all  requiring  ef- 
fort. And  then  arrangements  must  be  made  to  get  tb'' 
chosen  aid  and  get  it  at  the  time  wanted — a  real  diffi- 
'-iilty  when  the  course  must  be  planned  for  weeks 
head.  Once  the  right  visual  is  arranged  for  at  th-^ 
right  time,  the  teacher  must  solve  the  projector  prob- 
lem. Help  must  be  secured  to  handle  the  projector  and 
prepare  it  for  use  on  schedule. 

Mr.  Coffey  then  listed  fourteen  major  and  minor 
phvsical  hazards  which  may  cause  faulty  or  poor  pro- 
jection unless  careful  checking  up  of  equipment  is 
superintended  by  the  teacher.  Though  these  incon- 
veniences occur  but  rarely,  steps  must  be  taken  to 
avoid  them.  While  none  is  insurmountable,  yet  it  calls 
for  e.xtra  hours  and  extra  effort  on  the  part  of  the 
teacher  to  surmount  them  all.  Small  wonder  that  some 
conclude  "it  is  easier  by  far  to  let  visuals  alone."  Mr. 
Coffey  added  that  since  available  visual  aids  are  sup- 
plementary, the  teacher  is  not  obliged  to  use  them,  and 
that  using  them  doesn't  relieve  the  teacher  of  any 
burdens.  But  the  teacher  using  visual  aids  is  delivering 
extra  measure  at  the  cost  of  extra  effort. 

"The  record  shows  that  more  teachers  are  using  more 
films  in  more  different  teaching  areas  than  ever  be- 
fore." and  the  causes  of  this  are  numerous.  The  intro- 
duction and  promotion  of  victory  training  films  have 
given  an  enormous  stimulus  to  the  use  of  audio-visual 
aids  everywhere.  Speakers  of  the  Office  of  Education 
have  spread  the  vi.sual  gospel  at  meetings  and  conven- 
tions. The  school  press  has  given  visuals  much  pub- 
licity. Film  libraries  have  increased  their  stocks  of  films. 
Good  work  has  been  done  in  evaluating  film  material, 
and  improved  catalog  descriptions  are  proving  helpful 
to  teachers.  Film  producers  have  focussed  their  atten- 
tion on  immediate  teaching  problems,  and  are  offering 
much  new  material,  designed  to  meet  changing  con- 
ditions. 

Finally  Air.  Coffey  showed  that  the  greatest  increase 
in  the  use  of  films  is  found  in  the  vocational  field.  "It 
is  the  vocational  teacher  who  has  recognized  the  need, 
and  who  has  besought,  connived,  and  demanded  tools 
which  help  him  meet  his  greatly  increased  responsibil- 
ity." It  is  the  vocational  teacher  who  has  fought  through 
the  inconveniences  above  mentioned  to  achieve  visual 
material  that  best  meets  his  needs.  The  vocational  teach- 


er's struggles  in  the  present  will  rebound  to  the  ad- 
vantage of  all  other  teachers  in  the  future. 

In  a  panel  discussion  led  by  Maurice  Trusal,  visual 
education  director,  Williamsport  Technical  Institute, 
Williamsport,  Pa.,  panel  members  William  P.  Loomis, 
and  Lyle  Stewart  of  the  United  States  Office  of  Educa- 
tion, and  Mrs.  Emma  Green,  supervisor  of  training  films, 
Fifth  Service  Command,  Fort  Hayes,  Columbus,  Ohio, 
described  the  utilization  of  training  films  by  war  worker 
trainees  and  Army  personnel.  It  was  their  consensus 
that  efficient  utilization  of  training  films  requires  plan- 
ning, preparation,  and  presentation  in  terms  of  good 
instructional  practices.  Training  films,  it  was  pointed 
out,  should  be  repeated  several  times  if  necessary  to 
help  trainees  understand  intricate  details. 

The  panel  agreed  that  training  films,  no  matter  how 
excellent,  could  be  abused  as  could  textbooks,  charts, 
or  other  instructional  materials.  Intelligent  use  of 
films,  it  was  decided,  does  not  depend  upon  the  amount 
of  time  spent  in  showing  these  films  so  much  as  the 
use  which  is  made  of  this  time.  Four  half-hour  sessions 
at  which  training  films  were  shown  were  declared  to 
be  far  superior  from  an  instructional  point  of  view  than 
a  two-hour  session  at  which  an  equal  number  of  films 
were  shown.  The  importance  of  preparing  the  class  to 
see  the  film  and  of  follow-up  by  questions  and  discus- 
sion after  the  showing  was  emphasized. 

A.  Demonstration  Room  in  the  Humanities 

(Concluded  from  page  46) 

to  hear  recordings  other  than  the  ones  played  during 
the  listening  periods.  During  several  jieriods  each  day 
our  Demonstration  Room  is  available  for  the  playing 
of  recordings  of  this  type.  In  the  catalogue  of  the  re- 
cordings the  student  selects  the  compositions  which  he 
wishes  to  hear;  an  assistant  in  charge  of  the  room 
finds  the  recording  for  him  and  operates  the  record 
player.  The  room  is  equipped  with  reference  books  on 
music  and  charts ;  one  of  these  charts  is  a  board  repre- 
sentation of  the  plan  of  an  orchestra  on  which  remov- 
able illustrations  of  the  instruments  have  been  arranged. 
We  have  attempted  to  centralize  in  our  Demonstra- 
tion Room  audio-visual  aids  for  use  by  individual  stu- 
dents, by  groups  of  students  working  informally  on 
special  projects,  and  by  classes  which  meet  here  when 
instruction  in  the  topic  under  consideration  can  be  made 
more  effective  by  the  use  of  the  visual  and  auditory 
resources.  Although  any  of  these  aids  may  be  taken  to 
class-rooms  by  instructors  who  wish  to  use  them,  we 
urge  instructors  to  bring  their  classes  to  the  Demon- 
stration Room  where  all  of  the  materials  are  easily 
accessible.  Throughout  our  program  for  using  the 
room  runs  the  central  objective  of  introducing  students 
to  experiences  in  the  humanities.  Direct  contact  with 
music  on  recordings  and  with  works  of  art  in  colored 
prints  or  in  models  eliminates  the  abstract  verbalizing 
which  has  unfortunately  characterized  instruction  in  the 
humanities  in  our  schools  to  such  a  great  extent.  Only 
by  the  extensive  use  of  audio-visual  materials  can  the 
student  be  initiated  into  so  experiencing  the  qualities 
of  enduring  works  of  art  that  he  will  come  to  regard 
them  as  joys  forever  and  as  sources  of  emotional  .satis- 
faction. The  Demonstration  Room  in  the  Humanities 
at  Wright  City  Junior  College  has  aided  us  greatly  in 
making  such  experiences  possible  for  our  students. 


February,   1943 


Page   59 


The  Film  and  International  Understanding 


Theory  and  Practice 

BOTH  theory  and  actual  practice  are  important  in 
developing  any  program  for  promoting  international 
understanding  through  the  use  of  motion  pictures. 
Theory  is  necessary  in  order  that  development  may  be 
consistent  and  comprehensive,  and  in  order  that  new 
techniques  and  methods  of  procedure  may  be  sug- 
gested. Actual  practice  tests  the  feasibility  of  theoreti- 
cal proposals.  At  the  same  time,  developments  in  prac- 
tice may  suggest  modification  or  expansion  of  theoreti- 
cal considerations. 

The  first  two  issues  of  this  department  were  largely 
devoted  to  theoretical  considerations.  This  month  it  is 
interesting  to  note  actual  procedures  which  bear  upon 
these  considerations. 

In  December  we  considered  fundamental  problems 
in  international  understanding  presented  by  the  war, 
and  suggested  that  the  film  could  help  us  to  under- 
stand and  cooperate  with  our  allies,  to  see  through  the 
flaws  and  weaknesses  of  our  enemies,  and  to  get  a  view 
of  world  problems  which  would  be  involved  in  post- 
war peace  and  reconstruction.  The  points  stressed  in 
the  OWI  letter,  mentioned  below,  are  amazingly  con- 
sistent with  this  point  of  view. 

Last  month  the  development  of  color  as  an  clement 
in  bringing  about  understanding  was  mentioned.  The 
report  on  the  Inter-American  brochure  indicates  de- 
velopment along  this  line. 

Disney's  work  with  Sah<do.<;  Aiiiic/os  suggests  inter- 
esting possibilities.  1.  Collecting  material  for  a  film  in 
foreign  countries  may  in  itself  be  a  vehicle  for  inter- 
national understanding  and  fair  ])resentation.  2.  Films 
in  this  field  can  be  good  entertainment.  3.  Humor  is 
not  to  be  despised.  He  who  laughs  with  us  has  made 
the  first  step  toward  friend.ship.  4.  The  potentialities 
of  the  animated  film  challenge  our  imagination.  These 
animated  characters,  whether  created  by  Disney  or 
someone  else,  can  be  might}-  ambassadors  of  good  will ; 
they  speak  a  universal  language,  and  tliey  are  endowed 
with  fundamental  and  universal  human  appeal. 

Portraying  Our  Colorful  Neighbors 

If  any  one  adjective  could  be  used  to  describe  our 
mental  picture  of  I-atin-.America,  that  adjective  prob- 
ably would  he  "colorful.''  This  quality  of  color  is  one 
of  the  elements  whicii  enter  into  our  understanding  of 
these  southern  neighbors.  In  view  of  this,  it  is  only 
reasonable  to  e.xpect  that  at  least  a  certain  proportion 
of  our  films  about  them  should  be  in  vivid  color. 

In  this  connection,  it  is  interesting  to  note  that  in  a 
recent  brochure  issued  by  the  Coordinator  of  Inter- 
American  .Affairs,  describing  twelve  films,  prints  of 
which  recently  have  been  depo.sited  in  more  than  100 
regional  distribution  depositories,  eight  of  the  twelve 
films  listed  are  in  color. 

Walt  Disney,  Good  Will  Animator 

The  current  Disney  release.  Saliidns  Amigos,  is  a 
unique  contribution  to  international  understanding — 
unique  not  only  in  its  theme  and  conception,  but  also 
in  the  contribution  t(j  hemispheric  understanding  which 


Edited  by  DR.  lOHN  E.  DUGAN 

Haddon  Heights,  New  Jersey,  Schools 

it  already  has  made  in  South  America  and  is  bound  to 
make  in  this  country.  It  entitles  Disney  to  the  title  of 
"Good  Will  Animator"  in  more  ways  than  one. 

An  ardent  disciple  of  hemispheric  solidarity,  Disney, 
with  a  group  of  fifteen  of  his  principal  artists,  mu- 
sicians, and  writers,  made  a  survey  trip  to  Latin- 
America.  On  this  trip  they  hoped  to  tap  the  reservoir 
of  music,  folklore,  legends,  .scenes,  characters,  and 
themes  which  might  provide  raw  material  for  good 
neighbor  films. 

Their  tour  included  Brazil,  Argentina,  Chile,  Peru, 
Uruguay,  Ecuador,  Panaina,  Guatemala,  and  Mexico. 
They  talked  to  persons  high  and  low,  and  visited  rodeos, 
presidential  palaces,  zoological  gardens.  Inca  ruins, 
night  clubs,  bullfights,  city  streets  and  country  roads, 
schools,  celebrations,  dances,  circuses — in  fact,  any 
place  or  occasion  that  offered  a  picture  possibility. 
Thousands  of  sketches  were  made,  scores  of  songs  re- 
corded, and  many  other  leads  developed.  As  a  result, 
the  group  returned  to  Rurbank  with  a  wealth  of  ma- 
terial for  future  good  neighbor  films. 

The  first  picture  to  result  from  this  trip  is  Sahidos 
Amigos.  Another  called  Surprise  Package,  and  having 
its  locale  laid  in  Mexico,  Brazil,  Argentina  and  Chile,  is 
currently  in  production.  Others  are  in  the  process  of 
development. 

Saludos  .  .  .  Alo  Amigos  .  .  .  Saludos  Amigos 

Sahidos  Amigos  bears  a  different  title  for  the  Span- 
ish speaking  countries  below  the  border,  and  another 
for  Brazil.  In  .Spanish  it  is  known  as  plain  Saludos. 
In  Brazil,  where  the  Portuguese  version  is  used,  it  is 
called  Alo  Amigos. 

Reversing  usual  distribution  methods,  Disney,  in  a 
further  gesture  of  good  will,  released  the  picture  in 
South  America  before  it  was  shown  in  this  coimtry. 
Enthusiastic  audiences  greeted  the  premieres  in  Brazil 
and  Argentina,  where  the  picture  broke  every  theatre 
record. 

Saludos  Amigos  is  entirely  in  color,  and  has  four 
animated  episodes  which  are  welded  together  by  live 
action  color  films  of  the  highlights  of  the  Disney  party's 
trip.  In  addition,  some  of  the  most  beautiful  spots  in 
Brazil,  Argentina.  Chile,  Peru  and  Bolivia  are  shown, 
with  an  outstanding  portion  of  the  live  action  being 
devoted  to  the  gorgeous  carnival  in  Rio. 

"Lake  Titicaca,"  "Pedro,"  "El  Gaucho  Goofy"  and 
"Aquarela  do  Brasil"  are  the  four  animated  episodes. 
In  "Lake  Titicaca"  that  grandi(jse  American,  Donald 
Duck,  takes  a  trip  to  one  of  the  highest  bodies  of 
water  in  the  world,  bordering  Peru  and  Bolivia. 
"Pedro"  relates  the  story  of  a  little  mail  plane  in  Chile. 
"El  Gaucho  Goofy"  shows  the  doughty  Goofy,  in  the 
role  of  a  Texas  cowhand,  transplanted  to  the  Pampas 
of  the  Argentine,  where  he  learns  how  the  gaucho  ex- 
ists. The  closing  episode  is  "Aquarela  do  Brasil" 
(Water  Color  of  Brazil),  based  on  a  popular  South 
American  song  of  the  same  name. 

(Concluded  on  page  74) 


Page .60 


The  Educational  Screen 


SCHOOL  MADE  MOTION  PICTURES 


Medical  Subjects 

Fifteen  films  valuable  for  medical  students  and  doc- 
tors have  been  made  at  the  Temple  University  Medical 
School,  Philadelphia,  and  Wills  Eye  Hospital,  by 
Robert  Mallory  III.  Mr.  Mallory  performed  the  of- 
fices of  cameraman,  director,  editor,  and  titler  in  each 
film.  Doctors  pictured  in  the  films  acted  as  co- 
directors.  All  films  were  taken  on  16mm.  stock.  All 
but  one  were  on  color. 

Following  is  a  li,st  of  Mr.  Mallory's  unusual  collec- 
tion of  films : 

Department  of  Physiology — Demonstration  oj  the 
Heart-Lung  Experiment  (450')  ;  A  Demonstration  oj 
the  Bcll-Madffendie  Laii'  (250');  An.  Experiment  on 
Micturition  (250')  ;  Nen'e-Muscle  Preparation  (150'). 

Department  of  Surgery — Traumatic  Surgery  (250')  ; 
Major  Surgery  of  Junior  Year  (350')  ;  Minor  Surgery 
of  Junior  Year  (650')  ;  Abdominoperineal  Proctosig- 
moidectomx  (  1200')  ;  A  Subtotal  Gastrectomy 
(1200'). 

Department  of  Obstetrics — Deliveries,  us  Seen  by  a 
Junior  Student  (350')  ;  Preparation  jor  Delivery 
(350')  ;  (black-and-white)  ;  Decomposition  and  Ex- 
traction of  a  Breech  Presentation  (500'). 

Wills  Eye  Hospital  subjects — Retinal  Detachment 
Operation  (350')  ;  Cataract  Operations  (350')  ;  Elliot 
Trephine  Operation  (350'). 


By    HARDY    R.    FINCH 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 


Filming  operative  procedure — Mr.  Mallory  at  the  camera. 

The  films  are  for  loan  free  to  doctors,  medical  stu- 
dents, medical  or  technical  clubs,  but  they  are  not 
for  the  general  public  use.  They  must  be  used  in  biology 
or  pre-medical  work  when  the  instructor  wishes.  Those 
interested  in  obtaining  copies  of  any  of  these  films 
should  write  to  Robert  Mallory  HI,  Methodist  Hos- 
pital, Broad  and  Wolf  Street,  Philadelphia,  Pa. 

Prize  Winners 

Campus  Frontiers,  a  film  showing  the  cooperative 
plan  of  Antioch  College  in  action,  received  honorable 
mention  in  the  annual  amateur  movie  competition  con- 
ducted by  Movie  Makers  magazine.  The  film,  de- 
scribed in  an  earlier  issue  of  this  department,  was  filmed 


With  a  question  box  on  the  making  of 
school  film  productions,  conducted  by 

DONALD    A.    ELDRIDGE, 

Wesleyan  University,  Middletown,  Conn. 


by  Charles  Chuck  Klein.  Retinal  Detachment  Opera- 
tion, taken  by  Robert  Mallory  III  at  the  Wills  Eye 
Hospital,  also  received  honorable  mention. 

Film  Tells  University's  War  Program 

A  new  .sound  ])icture,  entitled  The  University  and 
the  War.  has  been  produced  by  Ohio  State  University, 
Columbus,  Ohio.  Prepared  as  a  documentary  film  to 
show  the  role  the  American  university — represented 
in  this  case  by  Ohio  State — is  playing  in  the  war,  the 
movie  is  now  available  for  general  distribution. 

Thirty  copies  are  now  in  constant  use.  The  film  is 
16mm,  running  22  minutes.  H.  W.  Decker  of  the  Ohio 
State  alumni  ofifice.  Administration  Huilding,  is  in 
charge  of  bookings. 

Weaving  familiar  .scenes  of  students  at  work  and  at 
play,  classrooms,  laboratories,  football,  the  campus,  into 
a  imified  whole,  the  movie  shows  how  a  imiversity  has 
niade  a  quick  transition  from  peace  to  war. 

The  picture  was  planned  under  the  auspices  of  a 
special  faculty  "acceleration  committee"  headed  by 
Professor  Harlan  H.  Hatcher.  Script,  production, 
and  editing  were  done  by  Professor  Frank  J.  Roos. 
Jr..  department  of  fine  arts,  and  Professor  William  R. 
Parker,  department  of  English.  All  photography  was 
by  A.  Lloyd  Reber.  Jr.,  department  of  photography, 
and  the  spoken  commentary  is  by  Wib  Pettigrew. 

QUESTION  BOX  ON  SCHOOL  FILM  PRODUCTION 

Question:  We  are  planning  a  film  on  the  part 
played  by  our  schools  in  serving  the  community 
and  the  nation  in  the  war.  The  production  is  being 
handled  by  a  committee  representing  the  Public 
Relations  Committee  of  our  teachers'  organization, 
the  Audio-Visual  Aids  Department  of  our  school 
system,  and  a  representative  of  each  type  of  school 
— senior  high,  junior  high,  grammar,  and  vocational 
trade  school.  We  have  the  services  of  a  commercial 
photographer  who  is  an  alumnus  of  our  high  school. 
Our  committee  is  in  disagreement  as  to  what 
and  how  much  should  be  included  in  the  film,  and 
also  on  the  basic  treatment.  Some  feel  that  at  least 
one  scene  of  every  individual  school  should  be  in- 
cluded, giving  a  sort  of  panoramic  view  of  the  whole 
system — a  little  here  and  a  little  there.  Others  of 
us  feel  that  we  should  have  a  definite  continuity  and 
that  schools  should  be  pictured  only  if  they  naturally 
fall  within  the  continuity. 

For  example,  we  have  some  scenes  showing 
teachers  handling  sugar  and  oil  rationing,  which 
were  made  before  any  plan  was  established.  Some 
people  who  have  seen  these  pictures  think  we  should 
include  them  all  in  the  reel  because  otherwise  some 

{Continued  on  page  62) 


^r  L 


\*\^ 


\     . 


TtYMAMIC 

A  VITAL  TRAINING  FORCE  FOR  VICTORY  .  .  .  WITHOUT  EQUAL 

Materially  aiding  in  the  increased  Tempo  of  War  Training,  Victor  Animato- 
phones— the  outstanding  Sound  Motion  Picture  Projectors  in  the  16mm  field 
— are  playing  a  vital  role  in  instruction  and  inspiration  for  our  millions  in 
Military  Service,  Civilian  Defense,  and  War  Industries.  There  is  no  stronger 
training  force  than  Sight— Sound— Sequence.  .  .  .The  almost  continuous 
gruelling  service  these  machines  are  receiving  today,  attests  to  Victor  quality 
and  precision  craftsmanship  developed  painstakingly  in  years  that  have  passed. 


VICTOR  ANIMATOGRAPH  CORPORATION 


242  W.  55th  Street.  New  York 
188  W.  Randolph  Street,  Chicago 

.    ,    .    DAVENPORT,  IOWA 

oisniBuro/ts  throughout  thi  wokio 


Page   62 


The  Educational  Screen 


Whether  you  seek 
EDUCATION  or  ENTERTAINMENT 

you  will  find  that 
the  VISUAL  way  is  the  BEST  way! 

I NCREASE  your  knowledge  of  world  affairs 
and  home  affairs;  enjoy  the  thrills  of  your  favorite 
sport  in  season  and  out  of  season;  "See  America" 
and  travel  to  the  four  corners  of  the  world;  ...  or 
see  Hollywood's  greatest  stars  in  their  greatest 
pictures,  just  as  they  are  shown  on  the  screens  of 
America's  theatres! 

Here  are  some  of  the  outstanding  dramatic, 
musical,  and  comedy  successes  of  the  year,  pro- 
nounced  by  the   leading   motion   picture  critics  as 

"Pictures  You  Must  Not  Miss!" 


ABBOTT  &  COSTELLO 

— the  comedy  team  voted  by  the 
nation's  picture  fans  as  t^e 
Number  1  Attraction  .  .  ,  in  two 
of   their    funniest    pictures — 

"KEEP  'EM  FLYING" 

— a  story  of  the  two  nlt-wits  who 
get  tangled  up  with  the  air 
corps,  bringing  to  the  screen 
some  of  the  most  thrilling  and 
spectacular  air  shots  ever  filmed 
and — 

"RIDE  'EM  COWBOY" 

— a  picture  which  puts  these  ace 
comedians  on  horses,  but  can't 
keep  'em  there.  A  hilarious 
comedy  featuring  an  all  star 
cast    of    Hollywood    beauties. 

"WHAT'S  COOKIN' " 

Here  is  one  of  the  liveliest  musi- 
cal comedies  of  the  year,  with 
an  all  star  cast,  featuring  the  de- 
lightful little  song-brd  GLORIA 
JEAN.  It's  one  for  the  hep-cats 
— young    and   old. 

Deanna  Durbin 

Charles  Laughton 

in  "IT  STARTED  WITH  EVE" 

Two  great  stars  in  one  of  the 
finest    comedies    of    the    year. 

"BROADWAY" 

George  Raft  at  his  best  ...  in 
the  role  of  a  Broadway  hoofer 
during  the  prohibition  days.  Ac- 
tion,   pathos   and   romance. 


"BUTCH  MINDS  THE  BABY" 

The  delightful  Damon  Runyon 
story  put  on  the  screen  with  Brod 
Crawford  as  Butch.  T^e  critics 
call    this    a    "must'    picture. 

"THE  SPOILERS'* 

Here  is  the  picture  'ihat  made 
motion  picture  history  with  the 
dramatic  fight  between  John 
Wayne  and  Randolph  Scott.  Mar- 
lene    Dietrich    is   also    starred. 

"SABOTEUR" 

Here  is  Alfred  Hitchcock,  master 
of  suspense,  at  his  best.  It  is  a 
story  of  what  could  be  happen- 
ing in  your  town  today. 

Burma  Convoy 
Flying  Cadets— Road  Agent 

Three  action-adventure  pictures 
with  top  flight  stars,  each  of 
which  is  guaranteed  to  provide 
you  and  your  friends  with  a  glori- 
ous evening  of  entertainment. 

We  are  also  proud  to  make 
available  to  you  at  this  time, 
two   feature    productions. 

"CAVALCADE  OF  AVIATION*' 
"MENACE  of  the  RISINGSUN" 

These  two  featuretteswere  actually 
billed  as  features  in  the  finest 
theatres  of  America.  They  are 
timely,  thrilling,  spectacular  and 
authentic. 


UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


TIL  IMS         ^o""''      ' 

WIN  THE  WAR 

ONE  CENTRAL  SOURCE 

for  all    ItMM    Films  ol   Wai    8,    Hor-ie   Fronts! 
WRITE         ■WARTIME    CATALOG"           FREE 

BRANDON  FILMSn"?^?,:; 

l^eople's  feeling's  may  be  hurt.  Others  of  us  feel 
that  only  certain  parts  shoud  he  selected  and  re- 
tained. 

The  argument  has  reached  a  stalemate,  and  we 
finally  agreed  to  submit  it  to  you  for  arbitration. 
The  film  is  intended  as  a  public  relations  film  to  be 
shown  to  Parent-Teacher  Associations,  service 
clubs,  and  other  groups  in  the  community,  as  well 
as  being  a  historical  record  for  the  future. 

We'd  greatly  appreciate  your  advice,  and  if  space 
permits,  a  suggested  method  of  attack.  All  we  have 
now.  frankly,  is  about  350  feet  of  scenes  of  rationing 
at  a  number  of  schools.  Some  of  this  is  pretty  good, 
and  in  one  case  we  have  followed  a  mother  through 
the  whole  sugar  rationing  process. 

Answer:  This  question  demands  a  rather  lengthy  and 
conipHcated  answer,  for  it  involves  the  very  fundamentals 
of  school-made  fihiis  in  general,  and  school  public  rela- 
tions films  in  particular. 

Our  answer  will  be  quite  arbitrary,  since  we  strongly 
feel  that  any  film  made  by  any  school  group  to  impress 
the  public  has  got  to  maintain  high  standards  or  it  should 
not  be  shown  at  all.  Only  a  cjuod  public  relations  film 
makes   for  good   public   relations. 

This  sounds  too  obvious  to  mention,  doesn't  it?  Yet  in 
many  instances  the  idea  has  seemed  to  be  that  the  audience 
will  overlook  flaws  or  excuse  them  on  the  ground  that  an 
inexperienced  school  group  made  the  mistakes.  Obvious 
errors  in  technique  or  composition  are  no  more  to  be  con- 
doned in  a  motion  picture  than  are  grammatical  blunders 
or  lack  of  unity  in  a  written  or  spoken  exposition. 

In  the  case  presented  above,  presumably  the  cameraman 
is  technically  skilled,  so  we  will  disregard  problems  of 
camera  techniques.  This  leaves  a  dual  problem:  (I)  organ- 
ization of  personnel  for  making  the  production,  and  (2) 
methods  of  achieving  unity  in  the  film  itself.  We  will  list 
a  few  suggestions  in  answer  to  each  of  these  problems. 
.-/.  Organization  of  Personnel 

1. — Elect  one  individual  to  act  as  director,  with  the 
unanimous  understanding  that  his  (or  her)  decisions  are 
final,  and  that  the  responsibility  for  the  finished  production 
is  primarily   his. 

2 — The  Director,  when  elected,  should  assign  to  each 
member  of  the  committee  a  specific  job,  e.g.  preparation  of 
titles,  arrangement  of  shooting  schedules,  drafting  or  re- 
vising sections  of  the  script,  etc.  The  Director  should 
outline  the  general  policy  to  be  followed  by  all  persons,  and 
should  see  that  all  of  the  activities  are  coordinated. 

3 — The  Director  should  supervise  the  actual  filming  of  all 
scenes,  and  also  supervise  the  editing  of  the  film.  He  must 
have  the  authority  to  cut  scenes  where  he  thinks  it  best  for 
the   sake  of  the   picture. 

4. — Do  not  show  the  "rushes" — i.e.,  the  film  sections  as 
they  come  from  the  laboratory — to  anyone  except  the  actual 
production  staff.  This  is  the  easiest  way  to  avoid  personal 
.grievances  and  disappointments.  It  is  generally  wise  to 
show  your  product  to  "outsiders"  only  after  it  has  been 
edited.  It's  difficult,  for  example,  to  explain  to  a  friend  that 
a  picture  of  him  was  cut  out  because  it  was  slightly  out  of 
focus  or  because  other  people  were  more  photogenic,  once  he 
has  seen  himself  on  the  screen.  The  average  person  is  not 
likely  to  be  self-critical  under  such  circumstances.  But  if 
the  cutting  is  done  first,  the  chances  are  the  person  in- 
volved won't  notice  his  absence,  or  if  he  does,  he  can  be 
given  a  polite  explanation  of  a  technical  difficulty  which 
spoiled  that  particular  shot.     To  put  it  bluntly,  it's  another 


February,   194i 


Page   63 


Announcing... 

6  NEW  REGIONAL  GEOGRAPHY  FILMS 


depicting  contemporary  life  in  the  6  major  regions  of  the 
Unite<l  States  and  presenting  the  concept  of  our  coun- 
try as  a  group  of  interrelated  regions  rather 
than   as   many   political   flivisions   or   states. 

These   films   illustrate  aspects   of   the   geography,   economy. 


history,  resources  and  culture  characteristic  of  each  region. 
The  series  emphasizes  the  individuality  of  each  region  yet 
shows  the  contribution  of  each  to  the  nation's  total  economy. 
These  films  are  effective  teaching  aids  in  the  study  of 
geography,  economics  and  other  social  studies. 


1841    BROADWAY 


Frpi  Classroom  Films  Inc. 


■BOOKLET  AND   DETAILS  ON   REQUEST- 


NEW    YORK.   N.    Y. 


application  of  the  adage  that  "what  they  don't  know  won't 
hurt  them."  To  edit  a  film  successfully,  one  must  be  objec- 
tive and  impartial — to  the  point  of  ruthlessness  in  some 
cases. 

B.  Organization  of  Subject  Matter 

1— List  all  scenes  which  might  be  included  under  the 
general    subject. 

2 — Note  those  which  the  group  agrees  are  most  im- 
portant, and   eliminate   the  rest. 

3 — Group  the  selected  scenes  together  under  logical  head- 
ings. For  a  one  reel  film  there  should  not  be  more  than 
three  or  four  such  groups.  Each  groui)  should  be  con- 
sidered a  section  of  the  film.  Thus,  an  order  of  continuity 
for  the  three  or  four  sections  should  be  determined,  and 
within  each  section  the  scenes  should  be  arranged  in  order 
of  occurrence. 

In    the   subject    here    discussed — "The    Schools    in    War- 
time"   or    whatever   you   decide    to   call    it — this   might    be 
arranged  something  as  follows,  with  the  addition  or  specific 
detailed    scenes   under   each   sub-topic: 
Section   1.  The  School  Program 
(a)     Special  courses 

(1)  Pre-flight 

(2)  Mathematics   review 

(3)  Work  on  airplane  engine  in  trade  school 

(4)  Physical  education  body  building,  commando 

courses,  etc. 
(b)      Extra    curricular 

(I)     Victory  corps       (2)     War  bond  drives 
Section  2.     Out-of-School   Services  of  Teachers  and  Students 
fa)     Red  Cross 

(1)    Blood   donors   (2)    First  aid  courses  • 

(b)   Civilian  Defense 

(1)   Airplane  spotters   (2)   .Md   Raid  Wardens 
(3)    Messengers 
Section  3.     Special   Services  to  the  Community 

(a)    Rationing    (treat    as    a    single    subject,    but    include 
scenes   from   various    rationing  programs.) 


(b)     Acknowledgment  by   the  community 

(1)  Local    ration     board    chairman    congratulates 
teachers 

(2)  The    mayor    expresses    his    appreciation. 

4.  After  the  entire  continuity  has  been  outlined,  re-check 
it  carefully  to  be  sure  that  no  one  section  has  been  given 
undue  prominence,  thus  upsetting  the  balance  of  the  film 
as  a  whole.  In  doing  this,  visualize  how  each  scene  will 
look  on  the  screen,  and  how  long  it  will  take. 

5.  For  each  scene,  determine  approximately  how  many 
"shots"  (i.  e.,  film  exposed  from  one  camera  position) 
should  be  used,  the  types  of  shot.s — close-up,  medium,  long — 
(C.  U.,  M.  S.,  L.  S.)  and  the  estimated  length  (number  of 
feet  of  film)  for  each.  This  will  be  your  shooting  script. 
It  might   look   something   like   this; 

Shot  .\'n.   Type  Subject-matter  Length 

1.         Title:     Teachers  serve  both  the  community 
and    the    nation    by    assisting    in    ra- 
tioning   sugar    and    oil.  8  ft. 
General    view   of — School   auditorium 
during   sugar   rationing.                  ,  5  ft. 
Group    of    people    in    line,    awaiting 
their  turn.  .S  ft. 
Woman  with  3  year  old  child  in  group.  3  ft. 

Woman's  tufn  comes  and  she  moves 
toward  table.  Camera  follows  her  and 
child.  6  ft. 

Woman  sits  down  at  tabic  and  speaks 
to  teacher.    Child   uneasy.  S  ft. 

Woman  as  seen  by  teacher.  3  ft. 

Teacher  as  seen  by  woman.  3  ft. 

Teacher  picks  up  form  and  shows  it 

to  woman.  3  ft. 

Form.   Woman's  hand  and   pencil   is 

seen   as   she    fills   in    form.  8  ft. 

6.  Defiin'tely.  all  individuals,  groups,  and  schools,  should 
be  sublimated  to  the  identity  of  the  film  as  a  whole.  Thus, 
those  teachers  who  happen  to  be  included  would  serve  as 


2. 

L.  S. 

3. 

M.  S 

4. 

5. 

M.C.U. 
M.S. 

6. 

7. 
8. 
9. 

10. 


M.S. 

C.  IT. 

C.  U. 

M.C.U. 

C.  U. 


Page   64 


The  Educational  Screen 


"A  .  / 

#\      pictoiiaL 
o -k       tk  e      J^  a  c  i  k  i  c'\ 

COVARRUBIAS  REPRODUCTIONS  have  been  called  "first  rate 
works  of  art,"  by  Fortune  magazine.  This  set  of  six  famed  mural 
maps  by  Miguel  Covarrubias  represents  a  painstaking  study  of 
Pacific  ethnology,  economy,  art,  botany,  zoology,  native  housing  and 
transportation  .  .  .  scientific  accuracy  is  combined  with  artistic 
directness.  Unusual  versatility  makes  these  maps  decorative,  as 
pictures;  important  as  visual  education;  stimulating,  as  an  insight 
into  a  vital  world  area. 

VtrUa  n  for  further  details. 

SCHWABACHER-FREY  CO. 


Q  n  c 


I 


I  a 


735  Market  Street 


San  Francisco,  Calif. 


Peoples  of  the  Pacific,  38x25  in 2.00 

Flora  and  Fauna,  38x25  in 2.00 

Art  Forms,  38x25  in 2.00 

Economy.  38x25  in 2.00 

Native    Dwellings,   25x19  in 1«50 

Means  of  Transportation,  _ 

25x19  in - ••SO 

Set  of  all  six  of  the  Covarrubias 

Reproductions  in  mailing  tube....  8.30 

Sets  of  all  six  of  the  Covarrubias 
Reproductions  in  portfolio  with 

pamphlet  edition  of  explanatory  _   . 

text  T.OS 


symbols  of  all  the  teachers  in  the  school  system;  the  school 
or  schools  used  might  be  referred  to  as  "one  of  our 
schools"  but  probably  would  not  be  named  specifically; 
members  of  the  community  who  appeared  would  serve  as 
Mr.  and  Mrs.  Doe.  For  instance,  the  woman  and  child 
mentioned  above  would  symbolize  all  the  women  and  chil- 
dren affected  by  sugar  rationing. 

7.  Don't  make  it  too  cut  and  dried.  Vary  the  approach 
to  each  section  of  the  script.  A  touch  of  humor  should 
be  injected  to  make  it  typically  American.  For  example, 
the  man  who  has  just  obtained  sugar  ration  books  for  five 
children  when  one  of  his  boys  rushes  in  to  tell  him  that  a 
sixth  has  just  arrived  at  the  hospital!  (Yes,  it  actualy 
happened.)  Four  or  five  well-planned  close-ups  would  tell 
this  story. 

8.  For  special  sequences,  such  as  that  just  mentioned, 
the  shooting  can  be  done  after  the  stress  of  the  actual 
activitj'  is  over.  Get  the  background  and  general  scenes, 
crowds,  etc.,  on  the  spot.  Detailed  work  can  be  done  later, 
with  a  selected  cast  under  controlled  conditions.  Even 
now,  months  after  sugar  rationing,  you  could  "fake"  any 
supplementary  scenes  needed.  Don't  try  to  "get  by"  with 
what  you  have  if  you  know  that  a  few  additional  "touches" 
here  and   there   would   improve  the   final   result. 

We  hope  that  this  discussion  will  enable  your  committee 
to  start  working  in  earnest  now,  with  definite  objectives  and 
according  to  specific  methods,  for  you  have  a  big  job  ahead 
of  you.  Ger  your  personnel  organized,  get  your  material 
organized,  do  your  shooting  deliberately  and  according  to 
plan,  and  fear  not  the  face  on  the  cutting  room  floor! 

We  are  confident  that  your  results  will  amply  repay 
you  for  your  trouble,  and  that  you  will  have  a  picture  which 
is  a  credit  to  you,  to  your  teachers,  your  schools,  and  your 
public. 


Pre-induction  Training  Course  Outlines 

A  series  of  five  manuals  for  use  in  pre-induction 
training  courses  have  been  prepared  by  Army  cur- 
riculum .specialists  and  practical  classroom  teachers, 
under  the  joint  direction  of  the  War  Department,  Civil- 
ian Personnel  Division,  and  the  U.  S.  Office  of  Edu- 
cation, and  have  been  distributed  to  school  superin- 
tendents and  principals  throughout  the  nation.  The 
courses  are  designed  to  be  offered  as  electives  in  the 
last  two  years  of  high  school.  They  may  also  be  offered 
in  evening  schools  to  j'outh  and  adults  whose  induction 
mav   be   expected   in   the   near   future.   These   courses 


cover :  Fiindanicntals  of  Auto-Mechanics,  F itndamentals 
oj  Electricity,  Fundamentals  of  Machines,  Fundamen- 
tals of  SliopH'ork,  Fundamentals  of  Radio.  They  make 
it  possiI)le  for  youth  in  high  schools  and  colleges  to 
prepare  for  wartime  duties,  by  providing  the  funda- 
mental scientific  and  technical  understandings  neces- 
sary in  the  rapid  training  of  soldier  specialists.  They 
are  designed  to  serve  all  three  divisions  of  the  Army — 
the  Air  Forces,  the  Ground  Forces,  and  the  Services 
of  Supply. 

The  content  of  the  courses  is  based  on  technical  and 
field  manuals  of  the  War  Department.  The  teaching 
outlines  designate  recommended  text-books,  lecture 
data,  work  project  materials,  work  equipment,  demon- 
strations, and  pertinent  films  and  slidefilms. 

Pre-induction  mastery  of  these  course  materials  will 
enable  the  Army  to  cut  the  post-induction  training 
period,  and  help  the  student  to  select  the  particular 
branch  of  the  service  which  he  prefers,  or  for  which 
he  is  best  fitted.  The  schools  of  the  nation  are  making 
a  real  contribution  to  the  war  effort  by  the  organization 
of  courses  based  on  these  pre-induction  outlines.  As  the 
need  for  other  training  courses  becomes  apparent,  it  is 
expected  that  other  outlines  may  be  developed.  Copies 
of  the  printed  outlines  may  be  purchased  from  the 
Superintendent  of  Documents  for  10  cents  each. 


Projecting    a    Jam    Handy    filmstrip   in    a    PIT   course    in 
"Fundamentals  of  Electricity" 


February,   1943 

Experimental  Research 

in  Audio- Visual  Education 

By  DAVID  GOODMAN.  Ph.D. 

Title:  THE  EFFECT  OF  TWO  SOUND  SLIDE- 
FILMS  ON  THE  DEVELOPMENT  OF  DESIR- 
ABLE SOCIAL  ATTITUDES 

Investigator:     Janey  Evelyn   Haneline 

l-"or  the  degree  of  Master  of  Arts,  completed  1940 — 
George   Peabody   College   for  Teachers 

Purpose 

The  purpose  of  this  analysis  is  to  investigate   the  effect 
of   two  sound-slide    films   in    the    development   of   desirable 
social  attitudes. 
Procedure 

Two  sound-slide  films  prepared  by  the  Metropolitan 
Branch  of  the  Department  of  Visual  Instruction  of  the 
National  Education  Association  for  the  Committee  on 
Scientific  Aids  to  Learning  were  used.  One  of  these 
films,  entitled  Teamwork,  deals  with  c<x)peration  in  a  democ- 
racy as  illustrated  in  a  high  school  situation.  The  other,  en- 
titled Your  World  of  Tomorrovc,  deals  with  the  clioice  of  a 
vocation.  In  the  judgment  of  those  who  saw  the  film, 
Teamwork  was  better  planned  and  presented  for  teacliing 
purposes  than  Your  World  of  Tomorrow:  The  latter  seemed 
also  to  have  a  stronger  appeal  for  boys  than  for  girls. 
Method  Of  Proceuuke 

In  the  present  study,  each  of  the  sound-slide  films  was  pre- 
sented to  the  different  groups  under  as  nearly  comparable 
conditions  as  possible.  The  same  mechanical  e(|uipment  was 
used  for  all  groups.  With  each  group  assembled  the  same  two 
minute  explanation  was  given  concerning  the  purpose  of  the 
study.  This  e.xplanation  was  followed  by  the  initial  test,  and 
then  the  presentation  of  the  sound-slide  fdm  under  the  various 
experimental  conditions.  The  presentations  in  every  group 
were  made  by  the  writer. 

The  subjects,  62  boys  and  60  girls,  were  high  school  pupils  of 
Peabody  Demonstration  School,  which  served  as  the  laboratory 
for  this  experiment.  These  subjects  were  divided  into  four 
groups : 

Group  I,  consisting  of  27  pupils,  10  boys  and  17  girls,  was 
presented  the  film  accompanied  by   teacher's  lecture. 

Group  II,  consisting  of  30  pupils,  14  boys  and  16  girls,  was 
presented  the  film  accompanied  by  the  record,  permitted  to 
discuss  the  film  after  the  presentation,  and  shown  the  film 
witli  the  record  a  second  time. 

Group  III,  consisting  of  35  pupils,  23  boys  and  12  girls,  was 
presented  the  film  only  once  accompanied  by  the  record. 

Group  IV,  composed  of  30  pupils,  15  b<jys  and  15  girls, 
served  as  a  control  group. 

The  present  analysis  differs  from  previous  investigations  in 
that  these  sound-slide  films,  prepared  by  the  Committee  on 
Scientific  Aids  to  Learning,  were  planned  primarily  to  develop 
desirable  social  attitudes  among     high  school  pupils. 

Accompanying  each  film  is  an  objective  test  prepared  ten- 
tatively by  the  Committee  for  measurement  of  the  attitudes 
developed  by  these  films.  (No  attempt  was  made  to  deter- 
mine the  validity  or  reliability  of  these  tests.  However,  an  ef- 
fort was  made  to  have  them  cover  the  important  items  pre- 
sented in  the  verbal  continuity  accompanying  each  film.)  Each 
test  was  given  three  times;  once  before  the  i)resentation  of  the 
film  (Test  A),  next  immediately  following  the  presentation  of 
the  film  (Test  B),  and  third,  as  a  retention  test  after  an 
interval  of  forty  days  (Test  C). 

Results 

Teamwork 

1.  The  method  used  with  Group  I  is  no  more  effective  than 
no  presentation  at  all,  as  shown  by  comparison  with  Group  IV^ 

2.  Group  II  shows  a  greater  gain  after  the  showing  of  the 
film  than  does  Group  III,  while  Group  IV  remains  prac- 
tically unchanged. 

3.  Group  III  retains  the  same  score  on  Test  C  as  on  Test 

(^Concluded  on  page  75) 


Page   65 


Page   66 


The  Educational  Screen 


^liE  J^itE^xatuxE  in  ^l/i±iiaL  £fn±t%iiaiion 


A    Monthly    Digest 


Conducted    by    ETTA    SCHNEIDER 


ADMINISTRATION 
How  One  County  School  System  Uses  Audio-Visual  Aids — 

Leah  Phillips,  Elementary  Supervisor,  Wicomico  Co,,  Salis- 
bury. Md,  School  Manaijcmcnt,  12:92  December,  1942. 
The  county  system  of  education  here  described  comprises 
6.342  students  in  6  white  high  schools,  17  elementary  schools; 
one  negro  high  school  and  11  elementary  schools.  There  is  a 
county-wide  administration  of  audio-visual  aids  and  that  within 
eacii  school.  The  County  Superintendent  is  in  direct  charge 
of  the  program,  with  the  supervisor  acting  as  assistant  director. 
The  principals  of  the  various  schools  act  as  members  of  the 
audio-visual  committee. 

County  interest  in  visual  education  began  when  supervisors 
and  several  teachers  took  courses  in  audio-visual  education. 
Four  years  ago  a  survey  was  made  of  available  equipment 
and  materials.  The  teachers  then  evaluated  the  status  '  of 
their  materials  with  a  view  to  the  future.  The  community 
showed  its  eagerness  to  cooperate,  by  loaning  exhibits  and 
permitting  school  excursions  to  their  homes  or  business  es- 
tablishments. 

The  teachers  studied  in  detail  the  techniques  of  using  field 
trips  for  education.  In-service  teacher  training  was  begun. 
A  professional  library  was  started  by  half  the  cost  being 
paid  by  the  Board  of  Education.  Source  materials  were 
mimeographed  and  distributed  to  the  teachers.  The  super- 
visors responded  to  calls  from  teachers  to  observe  lessons 
taught  and  to  offer  suggestions  and  encouragement.  As  the 
teachers'  background  broadened,  the  need  for  new  equipment 
was  evident.  The  Board  of  Education  set  aside  funds  for 
the  purchase  of  some  equipment,  the  PTA  contributing  more. 
A  county  projector  was  bought  for  the  smaller  schools  who 
could  not  afford  individual  projectors.  There  are  now :  a 
central  radio  system  in  the  large  high  school,  individual  radio 
sets  throughout  the  county,  radio-victrolas  in  high  school 
music  departments,  3  micro-projectors,  3  lantern  slide  pro- 
jectors, 11  combination  projectors,  and  11  sound  film  pro- 
jectors. 

New  buildings  are  planned  for  projection.  Audio-visual 
materials  owned  by  the  Board  of  Education  include  films, 
slides  and  some  phonograph  records.  They  are  housed  at 
the  central  office  and  are  reserved  upon  request  for  any 
teacher.  As  new  materials  are  acquired,  teachers  receive 
mimeographed  announcements.  To  finance  the  purchase  of 
materials,  the  Board  pays  half  the  cost  up  to  $5.00  per 
teacher  for  each  school  year.  All  new  material  is  previewed 
by  representatives  of  every  year  of  elementary  and  secondary 
schools. 

Within  each  school  older  students  and  the  janitors  help  to 
care  for   storage  and  maintenance  of  equipment. 

Films  for  Defense— United  States  Office  of  Civilian  De- 
fense, Washington,  D  C— Sept.  1942.  OCD  Publication 
No.  3620.     16  pp. 

This  bulletin  was  prepared  for  civilian  defense  leaders 
who  are  inevitably  going  to  use  motion  pictures  to  ac- 
celerate the  training  program  within  their  community.  It 
urges  fullest  cooperation  between  civilian  defense  groups 
and  existing  film  distributors.  For  those  places  where  no 
such  agency  exists,  the  Office  of  Civilian  Defense  has  pre- 
pared this  brochure.  It  assumes  that  the  Film  Bureau  has 
had  little  or  no  experience  in  arranging  showings  and  goes 
into  detail  on  preparation  and  precautions  for  best  results. 
After  some  description  of  the  type  of  administrative  staff 
and  equipment  that  are  desirable,  there  are  two  recom- 
mendations for  organizing  a  film  service:  one  method  is  for 
the  Office  of  Civilian  Defense  to  act  as  a  clearing  house  for 
bookings  of  recommended  films;  the  other  is  for  the  Film 
Bureau  to  own  and  distribute  films  and  to  help  with  projec- 
tion service.     In  any  case,  a  Film  Bureau  should  be  set  up 


in  the  local  Office  of  Civilian  Defense  to  supervise  directly 
or  indirectly  those  activities  that  involve  the  use  of  films: 
gathering  information,  reviewing  new  subjects,  raising 
funds,  surveying  projector  availability,  etc. 

A  helpful  section  is  that  entitled,  "Arranging  the  Show- 
ing." On  these  pages  are  described  the  exact  procedures 
for  setting  up  a  projector  in  a  meeting-room  that  has  not 
been  built  for  projection.  In  the  Appendix  are  such  valu- 
able materials  as  the  basic  skills  needed  for  projection; 
minimum  equipment;  care  of  films;  care  of  the  projector  and 
mention  of  the  possibilities  of  filmstrips  an<l  Z"yil"  slides. 

SLIDES 
Color  Slides  As  an  Aid  to  Classroom  Teaching— Hans  van 
Weeren-Griek,    Curator  of    Education,   Virginia    Museum   of 
Fine   Arts — Virginia    Journal   of   Education,   36:97,   Novem- 
ber, 1942 

Pictures  in  elementary  geography  textbooks  lack  authen- 
ticity either  because  they  were  taken  as  long  as  50  years 
and  are  no  longer  pertinent ;  or  because  they  were  inserted 
for  their  picturesqueness  of  out-dated  costumes  and  festivals 
than  for  the  actuality  of  the  life  in  the  country  under  dis- 
cussion. 

One  method  of  inculcating  an  intelligent  understanding  in 
children  of  people  in  other  places  would  be  through  a  study 
of  native  art,  as  confirmed  by  John  Dewey  when  he  wrote, 
"Works  of  art  are  the  only  media  of  complete  and  un- 
hindered communication  between  man  and  man  that  can 
occur  in  a  world  full  of  gulfs  and  walls  that  limit  com- 
munity of  experience." 

Photographs  are  no  adequate  source  for  understanding  a 
country  because  they  give  information  but  lack  under.standing. 
True  such  photographers  as  Joris  Ivens  and  Margaret  Bourke- 
White  have  done  splendid  jobs  in  interpretation  with  their 
documental  photography  but  they  cannot  make  a  Dutchman 
real  to  us  in  the  manner  of  a  Frans  Hal  or  Rembrandt.  When 
an  artist  looks  at  his  own  country,  seeing  it  with  the  eyes 
and  the  spirit  of  his  fellow  countryman,  we  are  likely  to  get 
a  true  picture,  based  upon  familiarity  and  acute  observation  by 
a  necessarily  sensitive  onlooker,  and  one  who  is  trained  to 
express  this  in  the  simplest  and  most  direct  terms;  even  truer 
than  one  might  at  first  suspect,  because  upon  the  nature  of  a 
country,  its  climate,  its  valleys  or  its  mountains  depend  the 
nature  and  consequently  the  thought  and  philosophy  of  its 
people,  which  in  turn,  decide  the  consequent  creative  necessity 
of  that  people. 

With  this  in  mind,  the  author  prepared  colored  slides  from 
original  works  of  art  of  people  in  all  countries  and  all 
periods.  Contemporary,  as  well  as  creative  works  of  art 
from  previous  periods,  augmented  by  maps  and  good  photo- 
graphic material  combined  with  some  text  should  create  a 
fairly  well-rounded  picture. 

The  Virginia  State  Board  of  Education,  in  cooperation  with 
the  Richmond  Supervisor  of  Art,  Miss  Sara  Joyner  and  oth- 
ers, has  devised  the  following  plan:  The  Virginia  Museum  of 
F'ine  Arts  will  circulate  sets  of  slides  and  lectures  as  here 
described,  accompanied  by  a  projector  and  boxed  in  a  case 
for  safe  and  easy  shipment.  Bibliographies  and  other  ma- 
terial will  accompany  these  sets.  The  material  will  require 
many  years  for  completion.  Illustrative  of  the  units,  is  the 
one  on  Egypt  now  in  preparation.  A  description  of  the  con- 
tent of  such  a  unit  is  given  in  the  article. 

Follow  Through  With  2  x  2 — Frank   Wheat,   Chairman   of 

Biology,    George     Washington     High     School,     New   York ; 

Chairman   of  Film   Steering   Committee — Teaching  Biologist 

12:46  December,   1942 

Teacher-made  kodaslides  include  a  series  of  photomicro- 
graphs on   the   structure   of   cells ;    on  variation   among   dogs ; 

(Continued  on  page  (:8) 


February,  1943 


Page  67 


*  A  Vital  New  Use  for  RCA  Audio-Visual  Aids!  * 


THE  BATTLE  THAT  WAS  FOUGHT  500  TIMES! 


It  was  a  brilliant  action.  Our  forces  maneuvered 
with  perfect  skill  and  coordination.  The  plan  of 
attack  was  carried  out  to  the  last  man  and  the  last 
gun.  The  enemy  didn't  have  a  chance. 

Back  home,  thousands  of  officers-in-training,  who 
would  soon  have  to  execute  just  such  maneuvers, 
could  have  learned  an  invaluable  lesson — if  only 
they  had  been  on  the  spot  to  see  the  battle. 

The  army  did  take  these  officers  to  the  scene 
of  battle — through  films.  Photographic  records  of 
the  actual  operation  were  shown  to  audiences  of 
officers — not  once,  but  dozens  of  times.  These 
films  were  run  and  re-run,  discussed  thoroughly 
and  shown  again — till  every  important  detail,  every 
lesson  that  could  be  learned  was  clear  and  fixed 
forever  in  their  minds. 

In    this    way,    films    help    strengthen    the 


strategic  striking  power  of  our  armed  forces.  Every 
training  station  is  supplied  with  vital  films  of  this  type 
—  films  that  help  instruct  and  explain,  films  that 
prepare  men  and  officers  for  handling  weapons,  for 
maneuvering,  for  operations  and  combat  conditions. 

Wherever  these  films  are  used,  RCA  projectors, 
film  recording  and  reproducing  facilities,  play  an 
important  part.  In  the  greatest  military  training 
program  ever  undertaken  in  history — RCA  projec- 
tion equipment  serves  dependably  and  effectively. 

Because  RCA  16mm.  sound  projectors  are  today 
available  only  for  war  training  purposes,  the 
RCA  equipment  you  now  have  should 
be  kept  in  perfect  running  order.  Keep  it 
working  until  you  can  again  buy  these 
superior  projectors  for  your  educa- 
tional work. 


RCA  Victor  Division  •  Educational  Dept. 
RADIO  CORPORATION  OF  AMERICA,  Camden,  N.  J. 


Page   68 


The  Educational  Screen 


16  MM  Sound  Films  on 

THE  UNITED  NATIONS  AT  WAR 


UNITED  STATES 
films  on  War  ProductJen 

The    Arm    Behind   the   Army 

Bomber 

Lake    Carrier 

Tanks 

Aluminum 

Building    a    Bomber 

Power  for   Defense 

Women    in    Defense 

Food  for   Victory 
Home  on  the   Ran^e 
Democracy   in   Action 
Henry   Browne,    Farmer 

C;v;ffan    Activities 
Campus  on  the  March 
Manpower 

Safeguarding  Military  Information 
Salvage 

Issues   of   the    War 
Divide  and   Conquer 
The   Price  of  Victory 

The  above  films  rent  at  a  rate 
of  50c  for  the  first  film.  25c  for 
additional    films. 

CANADA 

Battle  for   Oil 

Strategy  of  Metais 

Soldiers  All 

Peoples  of  Canada 

Iceland  on  the   Prairies  (color) 


SOUTH  AMERICA 

Americans  All 

Our   Neighbors   Down  the   Road 

IDEALS    OF 
THE  FIGHTING  FRENCH 

The  Marseillaise — the  story  of  the 
French   Revolution 

ENGLAND 

Target  for  Tonight 
Learning   to    Live 
Health  in  War 
Five  and  Under 

USSR 

The  Soviet  School  Child 
100,000,000   Women 

POLAND 

Diary  of  a    Polish  Airman 
This    Is   Poland 

CZECHOSLOVAKIA 

The    Crisis 

Our  Allies — the  Czechs 

CHINA 
Western    Front 
The   Four   Hundred   Million 

POST-WAR   RECONSTRUCTION 

The    City 

Valley    Town 

And   So  They    Live 

The   Plow  that    Broke  the    Plain 

One  Tenth  of  Our  Nation 

Machine — Master  or  Slave 


These  timely  and  significant  films  ihow  what  the  United 
States  and  her  Allies  are  dorng  to  insure  Victory  in  the 
fight  against  tyranny  and  aggression.  Show  them  in  the 
classroom,  the  auditorium  and  In  community  forums,  and 
hasten   the   Hour  of  Victory! 

For   further  Information    write 

THE    COLLEGE     FILM    CENTER 


S4  E.   RANDOLPH   STREET 


CHICAGO,   ILL. 


"Gardens  of  Victory'' 

a    new    film    on    VICTORY   GARDENING 

reviewed    and    passed    by    the 

Office  of  Civilian  Defense 


Here  is  a  film  that  millions  of  Americans 
should  see  during  the  drive  for  20,000,000 
Victory  Gardens  in  1943!  Sponsored  by  Better 
Homes  &  Gardens  magazine  and  donated  to 
OCD,  "Gardens  of  Victory"  is  an  excellent 
inspirational  9  minute  short  in  black  and 
white.  It  is  a  sound  picture,  with  Basil  Ruys- 
dael  of  the  Lucky  Strike  program  handling 
the   commentary. 

16mm.  prints  are  available  for  $15  complete, 
35mm.  for  $35. 


"We  all  feel  that  your  excellent  film  will 
make  an  important  contribution  to  the  victory 
garden  movement.  I  hope  you  will  be  able  to 
secure  wide  and  strategic  distribution." 

Donald  Slesinger,  Chief  Visual 
Training  Section,  Office  of 
Civilian  Defense. 


Send  Orders  or  Inquiries  to 
BETTER    HOMES    &    GARDENS 

Des  Moines,  Iowa 


on  dinosaurs  and  geological  changes ;  on  genetics,  and  the 
like.  The  Film  Steering  Committee  is  recommending  that 
these  kodaslides  be  duplicated  for  use  by  science  teachers 
throughout  the   school  sj'stem. 

FLAT  PICTURES 
Illustrative  Materials  for  Conservation  Education:  I.     Pic- 
tures, Charts  and  Posters — W.  H.  Hartley,  State  ColIeRC 
for  Teachers,   Towson,   Md. — Journal  of  Geography,  41  :288 
November,  1942. 

Current  periodicals  contain  much  valuable  pictorial  material  on 
conservation.  The  alert  teacher  will  build  up  over  the  years  a 
collection  of  these  pictures,  carefully  mounted,  catalogued  and 
filed.  Use  a  good  quality  mounting  paper  of  a  neutral  or  con- 
trasting shade  and  affix  the  picture  firmly  but  artistically  with 
paper  cement,  scotch  tape  or  dry  mounting  tissue.  Select  a 
standard  size  mounting  paper,     8"xl0"  or  IT'xM"  in  size. 

Government  publications  available  free  or  at  low  cost  con- 
tain pictures  and  charts.  It  will  usually  pay  to  secure  several 
copies  of  the  better  illustrated  pamplilets,  so  that  one  may  be 
clipped  and  mounted  and  another  kept  intact  in  the  classroom 
library.  Another  source  of  pictures  and  other  illustrative  ma- 
terial is  the  commercial  firms  which  supply  sets  of  pictures 
especially  designed  for  school  use. 

Some  ways  in  which  picture  collections  have  been  used  arc : 

1.  First  pass  the  pictures  around,  have  the  pupils  examine 
them  and  then  discuss.  Use  enougli  pictures  so  that  each  pupil 
or  two  pupils  has  a  picture  to  examine.  Don't  try  to  carry  on 
a  discussion  while  the  pictures  are  being  examined.  Use  that 
time  for  teacher-pupil  conversations,  regarding  individual  pic- 
tures. 

2.  Post  pictures  on  the  bulletin-board  or  use  them  as  room 
decorations.  Hold  pupils  responsible  for  information  contained 
in  pictures  so  posted.  A  bulletin  board  committee  should  be  ap- 
pointed to  arrange  the  pictures  and  to  call  attention  to  this 
material. 

3.  Small  pictures  may  be  used  in  an  opaque  projector  in  a 
thoroughly  darkened  room. 


4.  Other  ways  are  for  scrapbooks,  illustrated  talks,  testing 
of  information  learned. 

Some  sources  of  pictures,  charts  and  other  conservation  aids 
are  then  given.   This  is  an  unusually  fine  compilation  of  sources. 

SCHOOL-MADE  MOVIES 
Are  School  Movie  Clubs  Worth  While?— Donald  E.   Eld- 
ridge — Movie  Makers,  17:451   November,  1942 

The  author  discusses  the  question  in  the  light  of  his 
experience  with  the  Motion  Picture  club  of  the  New  Haven 
(Conn.)  High  School.  This  club  was  established  in  1933 
to  help  develop  taste  and  discrimination  in  going  to  the 
movies.  The  first  film  made  was  to  help  learn  the  prob- 
lems of  technique  and  the  art  of  photoplay  production. 
The  original  Photoplay  Club  had  to  be  divided  into  two 
groups  subsequently,  one  a  "movie  makers'"  group.  Pro- 
duction since  that  time  has  included  school  newsreels, 
story  pictures  in  silent  form,  school  'documentaries'  such 
as  how  the  school's  weekly  newspaper  is  published,  etc. 
Sound  has  been  used  to  accompany  the  films  by  means  of 
microphone  and  amplifier. 

One  film  made  by  this  group  was  a  two-reel  picture, 
"Education  in  our  Town"  for  the  New  Haven  Teachers' 
League.  From  this  difficult  assignment  the  students 
learned  skill  in  composition;  they  acquired  understanding  of 
the  need  for  selection,  emphasis,  balance,  conciseness, 
something  of  symbolism,  style  and  originality,  as  W'ell  as 
of  the  need  for  absolute  dependability,  painstaking  care 
with   details  and  complete   accuracy. 

Some  evidences  of  the  outcome  of  this  movie-making 
group  are:  three  former  members  of  the  club  are  now  in 
the  production  business  with  a  company  of  their  own  three 
years  after  graduation.  One  boy  became  an  usher  in  a 
neighborhood  theater  and  has  since  been  made  assistant 
manager,  another  was  promoted  from  usher  to  a  member 
of  the  exploitation  department  of  a  theatrical  distributor. 
Another  boy  went  on  to  study  photography  at  a  profes- 
sional school  and  is  now  working  with  a  production  firm. 
For  these  boys  the  movie  club  was  certainly  worth  while. 


February,  194} 

TEACHING  GUIDES. 
Visual    Learning    Guides— National    Audio-Visual    Council, 
Inc.,    160    N.    LaSallo   St.,   Chicago,    III.     Professor   John 
Guy    Fowlkes  of   the    University   of    Wisconsin,    Depart- 
ment of  Kducation,  editor. 

Of  making  many  "guides"  there  is  no  end,  supposedly,  but 
perhaps  the  end  has  come.  Something  close  to  the  ideal 
"guide"  has  been  achieved.  We  wish  that  all  teachers,  who  for 
years  have  been  laboriously  using  or  conscientiously  rejecting 
the  "teaching  guides"  made  to  accompany  educational  films, 
would  examine  thoughtfully  the  Visual  Learning  Guides  put  out 
by  "The  National  Audio-Visual  Council."  Forty-six  are  ready, 
made  to  accompany  fdms  produced  for  Pre-Induction  Courses, 
on  Shop  Procedures  and  War  Training  by  the  U.  S.  Office  of 
Education  (16  films),  U.  S.  Army  (7  films),  U.  S.  Navy 
(5  films),  Erpi  Classroom  Films  (18  films). 

The  Visual  Learning  Guide  is  a  four-page  folder,  letterhead 
size,  attractive  in  format,  logical  in  arrangement  and  scien- 
tifically correct  in  content.  The  teacher  and  each  student 
should  have  the  guide  in  hand  in  advance.  The  first  page  is 
for  use  before  the  film  is  seen.  It  does  three  things:  (1)  Tells 
what  the  film  is  about— in  a  few  brief  and  stimulating  para- 
graphs; (2)  Tells  what  to  look  for  in  the  film— four  to  ten 
single-line  questions;  (3)  Lists  words  and  phrases  that  may 
be  new  to  the  student  and  need  to  be  thoroughly  understood 
before  seeing  the  film — involving  brief  discussion,  looking-up, 
and  reflection. 

The  class  is  then  ready  to  see  the  film— l)efore  opening  the 
folder  to  page  two.  Promptly  after  viewing  the  film,  the  student 
fills  out  the  test  on  pages  two  and  three— fifty  questions  in- 
cluding Multiple  Choice,  True  or  False,  and  fill-in  blanks  for 
single  words.  This  effort  at  immediate  recall,  covering  all  de- 
tails of  learning  expected  from  the  viewing,  aids  greatly  in 
transforming  fleeting  impressions  into  memory  fixations.  Class 
check-up  of  the  tests  permits  self-scoring  by  the  student  and 
impressive  correction  of  his  errors. 

Page  four  sui)plics  ample  follow-up.  "What  to  Talk  About" 
offers  four  to  eight  stimulating  questions  arising  out  of  the  film. 
"What  to  Do"  gives  four  to  eight  suggestions  for  pertinent 
activity.  And,  finally,  "References"  supply  ample  reading 
sources  for  enrichment  of  the  learning  and  for  carrying  through 
additional  research  along  any  line  inspired  by  the  film 
experience. 

The  Visual  Learnnu)  Guides  are  not  compilations  or  concoc- 
tions contrived  as  added  inducement  to  film  sales.  They  will 
increase  film  values  enormously.  They  have  been  thought 
through.  They  are  as  notable  for  what  they  omit  as  for  what 
they  include.  They  are  clear  value  without  waste — the  product 
of  careful  thinking,  of  real  scholarship,  of  sound  common-sense. 
The  46  guides  so  far  have  been  made  specifically  for  films  in 
highest  demand  in  the  present  emergency  for  war  training  pur- 
poses. But  they  are  models  of  what  should  be  done,  when 
peace  comes  again,  for  every  film  that  deserves  to  be  used  at 
all  in  American  education.  The  present  series  should  find 
universal  use  wherever  the  war-time  films  are  .shown.  Success 
for  this  service  now  may  assure  a  greater  service  still  when 
the  war-clouds  have  passed.  N.  L.  G. 

SOURCES  OF  INFORMATION 
Mathematics  Visual  and  Teaching  Aids — Compiled  by  Dr. 
E.  H.  C.  Hildebrandt  and  Dr.  Lili  Heiniers,  New  Jersey 
State  Teachers  College,  Montclair,  N.  J. — The  Library, 
Visual  Aids  Service,  N.  J.  State  Teachers  College,  Upper 
Montclair,  N.  J.    25c.     15pp.  niinieo. 

Filmslides,  charts,  models  and  pamphlets  on  the  various 
aspects  of  mathematics  education.  \  revised  listing  of  motion 
pictures  to  supplement  the  list  which  appeared  in  the 
Mathematics  Teaiher  for  January,  1941  is  in  preparation.  Many 
of  the  titles  listed  refer  to  war-time  matheTnatics  and  economics. 

List    of    Films    Available    to    Civilian    Defense    Councils — 

U.   S.   Oftice  of  Civilian   Defense,   Washington,   D.   C.  — 

November,  1942. 

The  .subjects  in  this  compilation  have  been  approved  by 
the  national  Oflice  of  Civilian  Defense  for  use  with  local 
workers  in  the  field.  It  is  an  excellent  basic  list,  but  one 
which  must  be  supplemented  constantly  because  of  new 
films  being  released. 


Page  69 


HAL  ROACH  ^ecOti^ed, 


Enduring,    wholesome    "hits"    suitable    for 
school  presentation  on  16  mm  Sound  Films. 

JUST  RELEASED! 

OF  MICE  AND   MEN 

Fi'aturitig  Durgcxs  Meredith,  Betty  Field,  Lon  Chancy,  Jr. 
Dramatic  picturization  of  Jolin  Steinbeck's  exceptional 
novel  and  prize-winnit>g  stage  play.  Tensely  portrays 
migratory  farm  workers'  struggles  for  existence  ii>  a 
ceaseless  search  for  work. 

A  CHUMP  AT  OXFORD 

l-eaturinij  Stun  Laurel  and  Oliver  Hardy 
The  riotously  funny  escapades  of  two  lowly  street  cleaners 
who  long  for  the  distinction  of  a  college  education. 
Presto!  The  wish  comes  true^ — the  hoys  arrive  at  sedate 
Oxford— where  a  bevy  of  amazingly  ridiculous  adventures 
make  them  really    relieved   to  he  bounced   out   of  college. 

Also    Available 


THE  HOUSEKEEPER'S   DAUGHTER 

with  Joan  Bennett,  Adolphe  Menjou 

THERE   GOES    MY    HEART 

with    Fredric   March,    Virginia    Bruce 

TOPPER  TAKES  A  TRIP 

with  Constance  Bennett.  Roland   Young 

ZENOBIA  (An   Ekphant  Nvver  Forgtts) 

xvith  Oliver  Hardy,  Harry  Langdon 

CAPTAIN    FURY 

with  Brian  Aherne,   Victor  McLaglen 

OTHER  OUTSTANDING  "HITS" 

SOON  TO  FOLLOW 


ORDER   FROM   YOUR   FILM    LIBRARY   TODAY 

Write    for    Free    Catalogue    listing    many    other 
educational  and   recreational  16  mm  sound  films. 

POST  PICTURES  CORP. 


723   Seventh    Avenue 


Dept.    10 


New   York,    N.    Y. 


Patents 

1,883,627—1,692,694 


Patented  Oct.  20,  19-)2 


RDADCD  Demountable  Window  Shades 
Ultni  Lll  Meet  Every  School  Shade  Need! 

Strong,  durable  and  attractive,  DRATEX  shades  are  avail- 
able in  translucent  or  black  cloth  for  darkennig  purposes. 
These  shades  are  so  desifcned  that  they  may  readdy  be 
applied  alternately  in  the  same  fixtures.  This  pernnts  s  set 
of  blackening  shades  to  be  used  in  diflferent  classrooms. 
The  illustration  shows  the  Draper  Style  V  Double  Roller 
Tan  Shade,  removable  from  the  window  to  pernnt  the 
Draper  Pakfold  Black  Shade  to  be  supported  m  the  same 
pulley  bracket. 

FREE  for  your  files— informative  literature  on  Sight-Saving 
aiul  Darkening  Window  Shades.     Write  TOD.'W! 

LUTHER  O.  DRAPER  SHADE  CO. 

Dept.   ED2,    SPICELAND,    INDIANA 


Page   70 


The  Educational  Screen 


NEW  FILMS  OF  THE  MONTH 

As  They  Look  to  A  Teacher  Committee 


Conducted  by  L.  C.  LARSON 

Instructor  in  School  of  Education 
Consultant  in  Audio- Visual  Aids 
Indiana  University,  Bloomington 

The  Airplane  Changes  The  World  Map 

(Erpi  Classroom  Films  Inc.,  1841  Broadway.  New  York 
City)  11  minutes,  16mm.  sound.  Sale  price  $50.00  less  10% 
educational  discount.  Apply  to  producer  for  rental  sources. 
Discussion   guide   available. 

As  progressively  closer  views  of  a  rotating  globe  are  shown, 
the  commentator  states  that  distortion  results  when  we  at- 
tempt to  transfer  an  impression  gained  from  viewing  a  globe 
to  two-dimensional  charts  or  maps.  Before  1492  flat  maps 
were  adequate,  since  most  people  thought  of  the  earth  as  a 
giant  flat  object  in  space.  After  Magellan  sailed  around  the 
earth,  new  navigational  maps  were  made  from  globes  designed 
by  Behaim  and  Schoner. 

A  major  sequence  is  devoted  to  an  explanation  of  latitude 
and  longitude  and  the  Mercator,  Mallweide,  and  Goode  pro- 
jections. The  effects  of  different  types  of  projection  on  the 
interpretation  of  size  and  distance  are  shown  through  the 
use  of  animation  and  illustration.  The  relationship  between 
our  concept  of  the  earth  and  methods  of  transportation  is 
emphasized  in  the  last  sequence.  The  concept  of  eastern  and 
western  hemispheres  was  developed  at  the  time  of  sailing 
vessels  when  navigators  wanted  a  map  showing  prevailing 
winds.  With  the  development  of  steam,  ships  could  take  the 
shortest  or  great  circle  routes.  With  the  development  of  the 
airplane  which  can  disregard  obstacles  of  botli  land  and 
water,  the  old  navigational  routes  are  again  outmoded  and 
air  transportation  uses  the  true  great  circle  routes.  Air  and 
water  distances  between  major  cities  in  the  world  are  com- 
pared through  the  use  of  routes  outlined  on  a  globe.  Circles 
drawn  with  a  6.000  mile  radius  and  with  Tokyo.  Central 
Europe,  and  Chicago  as  centers  include  most  of  the  land  area 
of  the  world.  The  commentator  states  that  from  these  cen- 
ters the  outer  limit  of  each  area  can  be  reached  by  air  within 
twenty-four   hours. 

Committee  Appkaisai.  :  In  addition  to  demonstrating  the 
changes  in  spatial  relationship  and  traveling  distances  between 
points  on  the  globe  brought  about  by  air  transportation,  this 
film  also  provides  a  good  explanation  of  the  usefulness  and 
limitations  of  various  flat  map  projections  made  from  the 
globe.  This  film  which  is  an  excellent  treatment  of  a  difficult 
subject  should  be  one  of  the  most  popular  of  recent  Erpi  re- 
leases since  teachers  of  general  science,  geography,  math- 
ematics, and  related  subjects  will  all  find  it  of  interest  and 
value  to  their  students. 

Rough  Turning  Between  Centers 

(Castle  t'llms.  Inc.,  30  Rockefeller  Plaza,  New  York)  14 
minutes,  16mm.  sound.  Sale  price  $12.94.  Apply  to  dis- 
tributor for  rental  source.  Visual  Learning  Guide  for  this 
and  other  U.  S.  Office  of  Education  Training  Films  avail- 
able from  National  Audio-Visual  Council,  160  North  I.a- 
Salle    Street,   Chicago,    Illinois. 

Beginning  with  the  blue  print  of  the  desired  part  and  a 
piece  of  raw  stock  cut  to  length  and  centered,  this  film 
details  the  operational  steps  in  turning  a  pin  to  the  rough 
diameter  required  for  finishing.  The  three  safety  considera- 
tions of  all  machine  operation  are  emphasized  throughout  the 
film  in  commentary  and  picture ;  how  proper  clothing,  hair 
cut,  and  careful  habits  of  movement  born  of  respect  for  his 
machine  protect  the  operator :  how  continuous  checking  and 
a  rigidly  maintained  routine  of  operation  protect  the  machine 
from  damage ;   and   how   constant   reference   to  the   blue   print. 


Assisted  by  LLOYD  F.  EVANS 
and  CAROLYN  GUSS 

Extension  Division 

Indiana  University,  Bloomington 

frequent  checks  of  tlie  work  in  progress  and  correct  manipula- 
tion of  controls  and  tools  avoid   damage  to  the  piece. 

The  cleaning  and  oiling  of  all  parts  of  the  lathe  and  the 
insertion  of  the  cleaned  centers  preparatory  to  setting  up 
the  work  are  shown.  The  measurements  of  the  raw  stock 
being  checked,  the  centers  lubricated,  and  the  work  locked  in 
place  in  the  lathe  are  then  seen.  Next,  through  animation 
and  extreme  closeups,  the  designing  and  grinding  of  a  rough- 
ing tool  are  shown  and  it  is  seen  being  mounted  in  the  proper 
position  in  the  tool  holder.  Speed  and  feed  having  been  set 
for  the  kind  of  material  and  the  depth  of  cut,  the  lathe  is 
cautiously  turned  by  hand  to  make  sure  it  is  in  safe  operating 
adjustment  before  a  quarter  inch  trial  cut  is  made  and  the 
resulting  true  diameter  measured  with  micrometer  calipers. 
From  this  gross  trued  diameter,  the  desired  net  diameter  is 
subtracted,  the  cutting  tool  set  to  cut  one-half  the  diflfercnce 
and  a  short  cut  taken  and  checked  with  the  micrometer  cali- 
pers for  the  diameter  called  for  in  the  blue  print.  .\  closeup 
in  slow  motion  with  extreme  magnification  shows  the  action 
of  a  well-designed  cutting  tool  completing  one-half  the  cut. 
The  stock  is  reversed  end  the  cut  finished  for  the  full  length  of 
the  pin.  the  finished  work  is  compared  with  the  drawing  to 
check  the  accuracy  of  the  work,  and  it  is  found  to  be 
within    the    limits   required   by   the  following   operation. 

Committee  .Appraisal:  This  film,  the  fir.st  in  a  Series  on 
the  "Operation  of  the  Lathe,"  successfullly  introduces  the 
elementary  operation  of  straight  turning  with  a  roughing  tool. 
It  uses  effectively  experience  situations  needed  to  provide  a 
basis  for  both  integrative  and  precision  learning.  The  sequence 
showing  the  approval  of  the  dimensions  of  the  finished  work 
compared  with  those  of  the  drawing  should  contribute  to  the 
exercise  of  judgment  needed  by  an  operator  in  determining 
whether  or  not  the  completed  dimensions  of  a  given  job 
are  within  the  limits  required  by  the  next  operation  as  shown 
by  the  drawing.  On  the  other  hand,  an  excellent  example 
of  precision  learning  is  contained  in  the  sequence  which  de- 
tails the  grinding  of  the  cutting  edge  and  clearance  angles  on 
a  tool  bit  for  a  given  operation.  With  its  technical  accuracy 
and  exceptionally  competent  photography,  the  film  should  be 
widely  used  in  classes  in  machine  tool  operation. 
Balloons 

(Educational  Film  Institute,  New  York  University,  Wash- 
ington Square,  New  York  City)  28  minutes,  16mm.  sound. 
Sale  price  $60.00.  .^pply  to  distributor  for  rental  sources.  Pro- 
duced by  Department  of  Child  Study,  Vassar  College. 

Marvin  and  Terry,  two  boys  between  the  ages  of  four  and 
five,  are  subjects  in  an  experimental  situation  designed  for  the 
study  of  aggressive  and  destructive  impulses.  The  introductory- 
title  explains  that  because  of  difi^erent  experiential  backgrounds 
and  personality  patterns  each  child  is  unique.  Assistants  are 
shown  preparing  the  experimental  room  while  the  commentator 
explains  that  the  two  boys  will  be  introduced  individually  to 
the  same  situation  for  the  purpose  of  observing  their  reactions. 

Marvin  is  brought  into  a  room  which  contains  balloons  of 
various  sizes,  shapes,  and  colors.  He  is  told  that  he  might  play 
Vvith  them  in  any  manner  that  he  chooses.  He  immediately  says 
that  he  hopes  they  don't  break,  and  to  an  invitation  to  break 
them  he  replies  in  the  negative.  The  psychologist  asks  Marvin 
if  it  would  be  all  right  if  he  broke  a  balloon,  but  Marvin  says, 
"If  you  do,  I'll  go  away."  When  the  psychologist  takes  a  small 
scrap  of  rubber  from  his  pocket,  forms  a  tiny  balloon,  and  be- 
gins to  twist  it  to  break  it,  Marvin  flinches  and  advises  him  not 
to  break  it.    However,  a  smile  of  satisfaction  flits  across  his 


February,  1943 


Page  71 


Now  Available  in  16  mm.  Sound 


Famed  "DR.  CHRISTIAN"  Features 


MEET  DR.  CHRISTIAN 

Jean  Hersholt,  Dorothy  Lovftt,  Robert  Baltiirin 
A  true  plcttirt*  of  snial!  town  life  t^howiiiK  the  part  that 
the  kindly  physician  plays  in  the  civic  and  private 
affairs  of  the  roniiiiunity.  Homely  (•oinetiy  and  romance 
combine  to  make  this  film  perfect  entertainment. 

♦      ♦      ♦ 

COURAGEOUS  DR.  CHRISTIAN 

Jean  Hersholt,  Dorothy  Lovett.  Robert  Baldivin 
The  kindly  doctor  la  interested  in  movinR  the  disease- 
ridden  and  impoverislied  community  of  squatters'  town 
to  a  model  hotisinft  project.  Defeat  stalks  his  trial  till 
a  near  trasedy  awakens  the  coninuinlty.  Humor  and 
romance  make  this  an  outstanding  picture. 

♦  ♦  ♦ 

DR.  CHRISTIAN  MEETS  THE  WOMEN 

Jean  HershoH,  Dorothy  Lovett.  Edgar  Kenitftlii 
Comedy  and  druina  are  mlnRled  in  this  real-life  ro- 
mance between  a  city  iKty  and  a  small  toun  Klrl.  Jean 
Hersholt  as  the  small  town  physician  always  enflafted 
in  protectind  the  health  of  his  community — this  time 
against  a  press  aKent   for  a   miark  reducing  specialist. 

Other  Titlm  in  Serir»  inrltide 

MELODY  FOR  THREE 

REMEDY  FOR  RICHES 

THEY  MEET  AGAIN 


These  pictures  have  received  the  high- 
est rating  by  the  National  Legion  of 
Decency.  Available  on  long  term  lease 
and  rental  basis.  Write  for  rates. 

Send  for  Catalog  of  2500  Entertainment  and  Educational  Sub/ects. 

25  West  45th  Street  Dept.  E-2  New  York 


f;K'-  when  the  experimenter  breaks  tlie  balloon.  Marvin  admits 
that  he  likes  it  but  doesn't  want  any  of  the  bigger  balloons 
broken.  When  asked  what  he  would  like  to  do  with  the  bal- 
loons, Marvin  says  that  he  would  like  to  take  them  home  but 
c;in  not  demonstrate  how  he  would  like  to  play  with  them.  Ot 
one  thing  he  is  sure— he  doesn't  want  them  broken.  Terry  is 
now  introduced  to  exactly  the  same  situation.  Upon  entrance 
into  the  room  he  is  intrigued  by  the  balloons  and  can't  keep 
"hands  off."  He  bats  them  into  the  air,  and  immediately  accepts 
th'  invitation  to  break  them.  By  standing  on  them,  rolling  on 
them,  squeezing  them,  and  using  the  assistance  of  the  experi- 
menter, Terry  finally  succeeds  in  bursting  every  balloon  in 
tl  e  room. 

Committee  .Apprais.-m.  :  The  film  is  valuable  to  demonstrate 
the  existence  of  individual  differences  in  the  amount  of  hostility 
or  aggression  present  and  the  control  exercised  over  it  in  indi- 
viduals. It  is  an  excellent  film  for  use  by  classes  in  psychology, 
teacher-training,  and  in  P.T.A.  groups.  Groups  will  vary  in 
how  they  will  account  for  the  differences  in  behavior  shown  in 
the  film  and  in  methods  for  assisting  youngsters  displaying  these 
beliavior  patterns  in  making  social  and  personality  adjustments. 

Construction  oi  a  Light  Airplane 

(The  Pennsylvania  State  College,  State  College,  Pennsyl- 
vania) 28  minutes,  16mni.  sound.  Sale  price  $40.00  with 
reel,  without  can.  .^pply  to  producer,  .Attention  I.  C.  Boerlin, 
for  rental  sources. 

In  an  introductory  sequence  from  a  working  model  of  the 
nnder-fabric  structure  of  a  small  airplane,  the  five  major 
parts  of  an  airplane  are  functionally  identified.  The  steps  in 
the  construction  of  an  actual  fuselage  from  chrome-molybdenum 
steel  tubing  are  then  shown.  The  operation  of  specially  de- 
signed machinery,  such  as  the  nibbling  saw  for  shaping  the 
ends  of  the  tubing,  is  shown  in  detail  together  with  the  as- 
sembling of  the  parts  in  a  jig  for  tack-welding,  the  final 
welding  operation,  and  the  addition  of  "fahrings"  to  give 
optimum  shape  for  best  performance.  The  fuselage  is  then 
shown    being    primed    with    zinc    sulphate    for    protection    and 


finishing.  On  the  completed  fuselage  under- fabric  structure, 
cables,  cabin  fittings,  control  stick,  rudder  bar,  and  steel 
fire  walls  are  seen  being  mounted ;  and  finally  the  covering 
of  the  fuselage  with  a  strong  mercerized  cotton  fabric  shrunk 
into  place  and  finished  with  many  coats  of  cellulous  airplane 
dope   is    shown. 

The  construction  and  operation  of  the  shock-absorbing  land- 
ing gear  is  explained  and  demonstrated  and  the  landing  gear 
assembly  is  shown  being  fitted  with  rubber  shock  cords  be- 
fore being  joined  to  the  completed  fuselage.  Next,  the  tail 
surface  steel  sub-assemblies  including  elevators  and  rudders 
are  shown  being  completed,  joined  to  the  fuselage,  and  con- 
nected to  their  respective  control  cables.  The  construction 
of  the  wing  ribs  from  drawn  aluminum  shapes  and  their  assem- 
bly to  spruce  spars  and  bracing  with  compression  bars  and  tie 
rods;  the  installation  and  protection  of  aileron  control  cables; 
and  the  covering  and  doping  of  the  completed  wings  together 
with  the  final  assembly  of  the  wing  to  the  fuselage  are 
seen.  Finally  the  construction  and  assembly  to  the  wing  of 
the  ailerons,  the  mounting  of  the  engine  and  propeller,  and 
the  installation  of  the  cowling  are  shown,  and  the  completed 
airplane  leaves  the  factory  for  adjustments  and  tests.  The 
procedure  for  compensating  the  magnetic  compass,  and  the 
air  tests  for  stability  and  safe  operational  performance  which 
the  plane  must  pass  in  order  to  be  licensed  are  demon- 
strated. 

Committer  Appraisal:  This  film  follows  the  actual  con- 
struction of  a  "Piper  Cub"  with  meticulous  detail.  It  would 
be  especially  useful  in  adult  and  high  school  pre-flight  courses 
to  familiarize  students  with  nomenclature  and  appearance  of 
the  constructional  details  of  an  airplane  and  in  vocational 
guidance  groups  for  illustrations  of  various  skills  required 
and  types  of  work  done  in  airplane  manufacturing.  Since 
the  film  is  confined  to  a  single  manufactured  design  and 
construction,  the  instructor  may  want  to  supplement  the  film 
with  information  on  other  types  of  light  airplanes.  In  the 
opinion  of  the  authors  this  is  the  best  film  that  has  been  sub- 
mitted for  use  in  pre-flight  courses. 


Page  72 


The  Educational  Screen 


Million  Dollar  his' 
toricoi  and  relig- 
ious    spectacle. 

One  of  the  finest 
16mTn.  films  ob- 
t  a  i  n  a  b  I  e  for 
school   use. 

An  RKO  ail-tolking 
16mfn.    film. 

Order  from: 

MANSE  FriM 
LIBRARY 

1521    Dana  Ave. 
Cincinnati,  Ohio 


^Ue  JlaUjbatfl  0/  Pamft^eil 


JV. 


FILM    AND    RECORDS 

Erpi    Films Harvard    Films 

Poetry  Records  (Author's  Readings) 

Latin  Records 

English  Literature  and  Bible  Records 

Films  for  the  Improvement  of  Reading 

(5th  Grade  to  Adult  Level) 

Wrife  for  Catalogue  E 

HARVARD  FILM  SERVICE 

Germanic  Museum — Harvard  University 
CAMBRIDGE,  MASSACHUSETTS 


Educational 
2x2  Kodachrome  Slides 

Nature  subjects  presented  !n  bold  closeups  and 
vivid  detail.  Complete  cycle  and  full-stage  develop- 
ment of  many  subjects. 

Descriptive  IM  ot  sub/ecfs  senf  upeii  requetf. 

LYNWOOD  M.  CHACE 

Nature  Photographer 
98  West  Street  New  Bedford.  Mass. 


Specific  Films  and 
Film  Strips 

For     Pre-lnduc+ion     and 
Victory  Corps  Programs 

The  Armed  Services  and  Industry  are  using 
Film    Strips   and    Sound   Films!    Are   you? 

Write  for  details  and   descriptive   literature, 
including    low-cost    Rental-to-Purchase     Plan. 

VOCATIONAL  GUIDANCE  FILMS,  Inc. 


2718    Beaver    Ave. 
Des  Moines.    Iowa 


7514    N.    Ashland    Ave. 
Chicago,    Illinois 


Eaj±    an 


Over  Two  Million  See  Inter-American  Films 

According  to  recent  figures  from  the  Office  of  the  Co- 
ordinator of  Inter-American  Afifairs,  at  the  end  of 
November  983,000  people  in  South  America  had  seen 
the  52  films  which  had  been  shipped  to  our  Latin- 
American  neighbors  from  the  Coordinator's  film  divi- 
sion, depicting  the  customs,  home  life  and  industries  of 
the  U.  S.  This  film  material  consists  of  specially  edited 
prints  of  informational  motion  pictures  selected  from 
the  product  of  entertainment,  educational,  scientific  and 
documentary  film  producers,  and  government  agen- 
cies. 

Approximately  2,780  screenings  have  been  held  in 
schools,  churches,  and  special  groups.  Mobile  pro- 
jection units  carry  the  films  to  laack-country  .sections, 
small  schools,  and  villages  where  the  people  have 
never  seen  a  motion  picture,  and  many  have  scarcely 
heard  of  the  U.  S.  In  the  large  South  American  cities, 
committees  of  educators,  businessmen  and  officials  are 
assisting  the  commercial  film  industry  in  the  circulation 
of  the  films.  Distribution  is  through  some  265  out- 
lets, and  it  is  anticipated  that  this  number  will  be  in- 
creased with  the  acquisition  of  more  16mm  projectors. 

Much  interest  in  the  cultural  interchange  of  films 
has  also  been  shown  in  Mexico,  an  average  of  1000 
persons  attending  each  of  the  73  showings  during 
three  weeks. 

In  the  United  States,  26  films  on  Latin  America  were 
in  circulation  at  the  end  of  November,  reaching  schools, 
colleges,  clubs,  churches,  and  community  groups 
through  a  national  system  of  non-theatrical  outlets. 
The  audiences  up  to  this  time  totalled  about  1,763,(XX). 

The  supply  of  these  special  films  is  being  augmented 
steadily.  Mr.  Francis  Alstock,  director  of  the  Co- 
ordinator's film  division,  states  that  75  subjects  have 
now  been  shipped  to  Latin  America.  Likewise,  more 
material  for  North  American  audiences  will  be  re- 
leased from  time  to  time. 

Connecticut  Association  Plan  Meeting  by  Radio 

The  Connecticut  State  Department  of  Education  re- 
ports that  "A  Thirty-Minute  Meeting  by  Radio,"  will 
be  conducted  by  the  Connecticut  Audio- Visual  Educa- 
tion Association  to  take  the  place  of  the  normal  annual 
meeting,  thus  overcoming  the  limitations  of  space,  time, 
gasoline  and  tires.  This  program  is  to  present  to  the 
entire  educational  family  and  to  the  public  as  well  the 
advantages  of  modern  audio-visual  education  and  the 
ways  in  which  it  can  be  best  utilized  by  schools,  institu- 
tions, the  Army  and  Navy,  through  radio  and  other 
facilities.  The  meeting  will  be  broadcast  through  sta- 
tion WTIC  Hartford,  and  announcements  will  be  sent 
to  all  newspapers,  educational  organizations,  public 
school  systems,  so  that  attentive  listeners  may  be  pre- 
pared for  the  occasion.  Transcriptions  have  been  ob- 
tained from  other  parts  of  the  country  to  be  included  in 
this  program  to  demonstrate  the  facilities  and  flexibility 
that  can  be  obtained  through  these  means,  in  any  such 
program.  This  thirty-minute  program  is  to  demonstrate 
not  only  educational  values  through  such  means  but 
the  advantages  of  a  radio  educational  meeting. 


d 


February,  1943 


Not 


'E± 


New  Supervisor  for  Virginia  Audio-Visual  Bureau 

Martin  L.  Hogan  has  succeeded  Mr.  James  W. 
Brown  as  Acting  Supervisor  of  the  Bureau  of  Teach- 
ing Materials  in  the  State  Department  of  Education, 
Richmond.  Virginia.  Mr.  Hogan  is  a  graduate  of  the 
Murfreesboro  State  Teachers  College  in  Tennessee,  his 
native  state.  For  the  past  four  years  he  has  Ijeen  a 
representative  of  the  Eastman  Kodak  Coinpany,  special- 
izing in  visual  aids  for  teaching.  Previous  to  that,  he 
had  considerable  experience  in  teaching,  served  as  a 
principal  of  a  Tennessee  junior  high  school,  and  spent 
some  years  engaged  in  out-of-school  youth  educational 
work.  He  has  had  first-hand  acquaintance  with  the 
visual  education  programs  in  many  states,  and  brings 
the  combined  benefit  of  these  programs  to  Virginia. 

Teaching  Aids  for  the  War-Time  Program 

.\s  a  jiart  of  its  contribution  to  the  Victory  Corps 
Program,  the  New  Jersey  State  Teachers  College, 
Up])er  Montclair,  N.J.,  offers  the  services  of  its  War 
Information  Center  and  Teaching  Aids  Service,  both 
departments  of  the  College  Library.  The  College  was 
designated  by  the  .School  and  College  Civilian  Morale 
Service  of  the  U.S.  Office  of  Education  as  one  of  the 
three  Key  War  Information  Centers  in  New  Jersey 
colleges.  The  information  Center  is  on  the  free  mailing 
lists  of  129  organizations,  including  government  agen- 
cies, propaganda  and  information  services  of  the  United 
Nations,  information  .services  of  American  groups  of 
foreign  origin,  associations  for  social  and  economic 
betterment,  commercial  organizations  publishing  infor- 
mational and  morale-building  materials. 

These  materials,  as  well  as  books,  pamphlets,  etc. 
from  the  Library  of  the  College,  are  classified  by  sulv 
ject  antl  available  for  use  at  all  times.  Li  addition,  the 
Library  has  published  two  selected  lists,  with  supple- 
ments, on  Civilian  Morale,  and  Post-War  Planning  and 
the  Schools.  (5c  each) 

The  Teaching  Aids  Service  lias  been  engaged  since 
19.38  in  collecting  materials  and  information  useful  to 
teachers  in  junior  and  senior  high  schools.  Many  of 
these  materials  are  also  of  value  in  the  elementary  field. 
The  catalog  of  the  Service  now  includes  more  than 
11,000  entries,  under  1500  subjects.  Continuous  re- 
search adds  data  daily. 

A  number  of  lists  of  Visual  and  Teaching  Aids  are 
now  available  to  curriculum  laboratories,  state  and  city 
boards  of  education,  libraries,  museums,  and  individual 
teachers  throughout  the  country.  These  publications 
fit  into  the  High  School  Victory  Corps  Program,  the 
objectives  of  which  are: 

1.  Guidance  into  critical  services  and  occupations 

2.  War-time  citizenship  training 

3.  Physical  fitness 

4.  Military  drill 

5.  Competence  in  science  and  mathematics 

6.  Pre-flight  training  in  aeronautics 

7.  Pre-induction  training  for  critical  occupations 

8.  Community  services. 


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BATTLE    MANEUVERS"- 


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AND 
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(And    many    othars   available    at   SOc    service    charge) 

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"LAND  OF  LIBERTY"  (8  Reels) 

(EPISODES    IN    THE    HISTORY    OF    OUR    COUNTRY,     SELECTED 

SEQUENCES     FROM     THE    BEST    THEATRI^OAL    PRODUCTIONS) 

—RENTAL   J7.50) 

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Discussional   slidefilm  series  for  pre-employment 
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(Approved  from  coast  to  coast) 


Page  74 


The  Educational  Screen 


Him 


KODACHROME 
SLIDES 

PUiladeifiJua 

Beautiful    35mm.    Koda- 

chromes     in     Readymounts 

of    Independence    Hall, 

interior    views    of    the 

Declaration      Chamber      and     Liberty      Bell, 

Betsy    Ross    House     (exterior    and    interior), 

Carpenters  Hall,  and  others.    50  cents  each. 

Send  for  free  list. 


KLEIN  &  GOODMAN 

18  S.  10th   Street.   Philadelphia.   Pa. 


More  than  250  Features 

and  hundreds  of  Short  Subjects 

in  16mm  Sound 

(Including  Major  Hollywood  productions] 
are  described  in 

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and     Free    Industrial    subjects    in    Technicolor. 

istiA  for  if  NOW! 

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620  Narth  Skinker  Blvd. 


St.  Louis.  Mo. 


ir  Write  for  DcseriptiTe  Cat- 
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WORLD  GEOGRAPHY 

LnoufUt  ta  £^e  .  .,  .  , 

..in  Fascinating  Films 
Of  Far-Offf  Places!.. 


Africa —  India — Asia —  Australia —  East  Indies  — 
Alaska — are  fighting  names  in  today's  news!  Bring 
these  far  places  to  life  in  your  classroom,  in  dra- 
matic and  entertaining  authenticity — as  only  Father 
Hubbard  can  present  them — rich  in  the  realism  of 
peoples,  customs,  arts,  crafts,  scenic  beauty.  Over 
170  colorful  subjects,  recorded  in  16  M.M.  Sound. 
10,  t2,  30  and  45. minute  showings.  Low  Rental  Rates. 


FATHER  HUBBARD  EDUCATIONAL  FILMS 

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on    sale    by    Theatre    Supply    Dealers 

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r22  Oakridge  Blvd.,  Daytona  Beach, Fla. 


PROTECTION   AGAINST  GAS   WARFARE 

A  Civilian  D  fonse  35  mm  filmslide  comprising  80  fully  labeled, 
hnrd-tiiawn  frames  for  Teachers.  Doctors  and  others  Jecturingr  on 
this  aub,iert.  ^^  _^     _        -        ,  - 

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VISUAL  SCIENCES      ^ox  264e      suffern,  n.  y. 


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Large  Selection  of 

RELIGIOUS  FILMS  for 
CHURCHES,  SCHOOLS 

Free  Lending  Library  of 
I6mm  Sound  Educational  Short  Subjects 

Our   catalogue    is   tn   the    mail.    If  you    haven't 
received    a    copy,    send    your    request    today. 


16     MM     RELIGIOUS     FILMS 

Don   Bosco  Ambassadors  of  Christ 

10  reels  4  ree's 

Miracle  of  Faith  (Lourdes)  Glory  of  Faith  (uttie  Fiow«r) 

8  reels  6  reels 

Rental   or   Sale 

FRENCH  FILM  EXCHANGE.  1775  Broadway.  New  York,  N.Y. 


Civilian  Defense  Organizations  Produce 

A  30-minute  16nim  film  "Illinois  at  War,"  has  been 
produced  by  the, Illinois  State  Council  of  Defense  and 
is  available  to  Councils  of  Defense  and  civic  organiza- 
tions from  the  Department  of  Public  Education,  Illinois 
State  Council  of  Defense,  188  W.  Randolph  St.,  Chicago. 

The  Chicago  civilian  defense  committee  has  also  re- 
leased a  film,  "Chicago  on  Guard,"  depicting  the  func- 
tion of  Chicago's  civilian  defense.  By  the  end  of  Janu- 
ary the  film  had  been  shown  in  300  theatres  throughout 
the  city.  After  the  theatre  run,  16mm  prints  will  be 
ready  for  showing  in  block  and  community  meetings. 

Block  captains,  wardens,  auxiliary  firemen  and  police- 
men, gas  fighters,  decontamination  squads,  first  aid 
and  emergency  medical  teams  are  shown  in  action. 
Block  meetings,  physical  fitness  activities,  consumer 
wardens'  meetings,  salvage  collection  and  youth  partici- 
pation are  also  shown. 

"Ten  Best"  Theatrical  Features  of  1943 

The  "Ten  Best"  feature  pictures  of  the  year,  as 
voted  by  592  critics  and  radio  film  commentators  in 
the  Film  Daily  annual  poll,  are:  Mrs.  Miniver  (Metro- 
Goldwyn-Mayer),  How  Green  Was  My  Valley 
(Twentieth  Century-Fox,)  Kings  Row  (Warner 
Bros.),  Wake  Island  (Paramount),  Pride  of  the  Yan- 
kees (RKO  Radio),  The  Man  Who  Came  to  Dinner 
(Warner  Bros.),  One  Foot  in  Heaven  (Warner 
Bros.),  Suspicion  (RKO  Radio).  Woman  oj  the  Year 
(Metro-Goldwyn-Mayer),  The  Pied  Piper  (Twenti- 
eth Century-Fox). 


The  Film  and  International  Understanding 

(Concluded  from  />ac/c  59) 

OWI    Stresses   International   Understanding 
In  War  Films 

In  a  letter  sent  to  educators  during  January,  the 
OWI  stressed  the  major  importance  which  interna- 
tional understanding  is  coming  to  occupy  in  its  film 
program. 

Two  pertinent  passages  from  the  letter  are  quoted 
below : 

"The  Office  of  War  Information  asks  your  help  in 
promoting  the  wartime  u.se  of  wartime  motion  pictures 
— motion  pictures  which  furnish  authentic  information 


February,   1943 


Page  75 


on  the  progress  of  the  war  at  home  and  abroad,  which 
drive  home  the  issues  of  the  war  and  the  nature  of  our 
enemies,  wliich  huild  an  understanding  and  a  respect 
for  our  Allies  in  China.  England,  Russia,  and  around 
the  world." 

"There  is  a  dramatic  warning  of  Nazi  propaganda  in 
Divide  and  Conquer,  an  unforgettable  picture  of  the 
everyday  people  of  wartime  England  in  Listen  to 
Britain,  Vice-President  Henry  Wallace's  ringing  chal- 
lenge in  The  Price  of  Victory." 

The  OWI  suggests  three  ways  in  which  educators 
can  promote  the  use  of  these  and  other  OWI  films 
which  are  available  from  established  16mm  film  dis- 
tributors. 

1.  Obtain  and  become  familiar  with  the  OWI  cata- 
logue."A  List  of  U.  S.  War  Information  Films."  which 
lists  both   films  and   distributors. 

2.  Show  these  films  regularly  in  your  school,  and 
encourage  teachers  to  discuss  them  in  classes. 

3.  Go  beyond  the  school  into  the  community.  Offer 
the  films  to  a  luncheon  club  at  noon,  to  a  P.  T.  .\.  group 
in  the  afternoon,  to  a  community  gathering  at  night. 

To  the  above  might  be  added  the  admonition  which 
Educational  Screen  has  stres.sed  repeatedly :  Make 
your  school  projector  available  to  the  community ! 

Experimental  Research 

(Concluded  jroiii  pai/c  05) 

B.  On  Test  B,  Group  III  and  Group  II  show  only  a  sliglit 
difference  in  scores  in  favor  of  Group  II.  Groups  I  and  III 
both  show  a  decided  gain  on  Test  C  in  comparison  with  Group 
IV,  which  remains  practically  unclianged. 

Your  World  of  Tomorron' 

1.  The  method  used  with  Group  II  is  no  more  effective  than 
no  presentation  at  all.  as  shown  by  comparison  with  Group  IV. 

2.  Groups  II  and  III  both  obtained  a  lower  score  on  Test 
B,  but  both  groups  obtained  a  slightly  higher  score  on  Test 
C  than  on  the  other  two  tests.  Group  IV  showed  a  decline  in 
scores  as  a  result  of  Test  C. 

Conclusions 

Group  II,  which  saw  the  sound-slide  films,  (including  the 
sound-recording),  discussed  the  films  after  the  presentation, 
and  then  saw  the  sound-slide  films  a  second  time,  showed  a 
positive  gain  over   both    Group    I   and  the   control   Group   IV. 

Group  III,  which  saw  the  sound-slide  films  (including  the 
sound-recording),  only  once,  attained  higher  scores  than  the 
other  three  groups.  This  may  be  due  to  the  method  used  or  to 
the  higher  intelligence  quotient  of  this  group  as  compared 
with  Groups  I  and  II. 

For  Tcamzt-'orl^  the  gain  of  the  experimental  Groups  II  and 
III  over  the  control  Group  IV  and  Group  I  (taught  with 
filmstrip  plus  teacher's  lecture)  would  appear  to  indicate  that 
the  sound-slide  film  is  effective  in  developing  desirable  social 
attitudes. 

In  Your  ll'orld  oj  Tomorron'  the  experimental  Groups  II 
and  III  also  registered  a  gain  in  comparison  with  the  control 
Group  IV.  and  the  filmstrip  lecture  Group  I.  However,  the  gain 
was  considerably  smaller  than  that  showed  by  the  same 
groups  with  Tcam-i'orlt. 

The  small  numbers  involved  and  the  presence  of  several  un- 
controlled variables  make  it  impossible  to  base  final  conclusions 
upon  this  study.  Further  research  with  larger  numbers  per- 
mitting more  elaborate  statistical  treatment  will  be  necessary. 
It  would  also  .seem  desirable  to  carry  out  similar  experiments 
with  other  .sound-sslide  films  prepared  for  instructional  purposes. 
Bearing  these  reservations  in  mind,  it  may  nevertheless  be 
tentatively  concluded  from  the  results  of  this  study  that  the 
sound-slide  film  appears  to  be  an  effective  teaching  aid  for 
the  development   of  desirable   social  attitudes. 


Approved 
PRE.FLIGHT< 

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valuable  visual  teaching  aids 
now  ready  for  your  school 

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THE  FRANKLIN  INSTITUTE,  PHILA.,  PA. 

Endorfd   and   Apptovd   by 

NATIONAL  AERONAUTIC  ASSOCIATION 

Sxhibitod  by  repfttnlativs   ot  fh« 

CIVIL  AERONAUTICS  ADMINISTRATION 

at  th*  Educational  Conventions  where  the  Pre-Flight 
Training  Courses  were  planned 

fOR  CLASSROOM   USE    


14  PRE-FLIGHT  TRAINING  FILMS 

especially  produced  for  use  as  Visual  Aids  in 

the    Pre-Flight   Courses    now   offered    by    the 

Secondary    Schools. 

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LARGE  FILM  LIBRARY 

at 

SACRIFICE  PRICES 

These  are  classroom  films,  slightly  used — 
all  16  mm  silent — many  Eastman  subjects. 


Pr/ces  as  low  as  $5.00  per  reef 


Send  for  group  lists  of  films,  as  General  Science,  Social 
Studies,  History,  etc.  In  which  you  are  interested,  or  send 
us   list   of  subjects   you    wish    fo   purchase. 

We  will  quote  prices  and  send  prints  for  screening  to 
responsible  parties. 


Creative  Educational  Society 

HANKATO.    MINNESOTA 


Page  76 


The  Educational  Screen 


(2u%iiLni  \jLLm  <::^euj± 


■  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York  City,  presents  two 
thrilling  phases  of  global  conflict  in 
their  latest  release: 

U.  S.  Carrier  Fights  for  Life  and 
Russia  Strikes  Back — both  on  one  reel, 
16mm  sound  and  silent.  The  carrier  ac- 
tion is  a  life  and  death  struggle  against 
a  furious  attack  by  Jap  bombers.  The 
daring  cameraman  catches  shots  of 
several  near-misses  as  Jap  planes  crash 
into  the  sea.  The  stern  of  the  carrier 
is  set  on  fire  by  a  bomb!  Within  sec- 
onds the  fire-fighting  crew  has  the 
flames  under  control.  Rapid  repairs 
are  made,  and  the  valiant  ship  fights 
on!  More  Jap  planes  are  downed  in 
the  renewed  assault.  Concussion  from 
a  near-miss  almost  blasts  a  U.  S. 
plane  from  the  deck  as  the  last  of  the 
attackers  are   driven  off. 

In  "Russia  Strikes  Back"  are  amaz- 
ing scenes  of  Russia's  heroic  transfor- 
mation to  the  offensive.  In  Stalingrad, 
building  by  building,  street  by  street, 
the  Russians  drive  the  Nazis  back! 
The  attack  spreads  along  the  entire 
1200  mile  front.  Tanks,  carrying  loads 
of  assault  troops,  roll  into  the  battle. 
The  coming  of  winter  only  accelerates 
the  Red  attack,  as  the  Nazis  are  driven 
reeling  through  the  snow!  "Russia 
Strikes  Back"  is  an  authentic  record 
of  the  Russian  courage  and  fighting 
skill  which  has  astounded  the  world! 

■  British  Information  Services,  360 
N.  Michigan  Ave.,  Chicago,  announce 
that  the  following  science  films  may  be 
borrowed  from  them  for  nominal  serv- 
ice fees: 

Springs — the  construction  and  use  of 
springs,  especially  in  reference  to  motor 
car  springs.    13  min. 

Transfer  of  Power — a  description  of 
one  of  the  first  mechanical  principles, 
use  of  the  lever.  It  begins  with  the 
simplest  and  most  primitive  types,  and 
follows  through  the  evolution  of  the 
toothed  wheel  to  the  complex  and 
precise  gears  which  are  a  part  of  al- 
most all  modern  machinery.    21  min. 

Distillation — illustrated  by  the  dis- 
tillation of  crude  petroleum.   14  min. 

Hydraulics — explanation  of  hydraulic 
pressure  \\\\\\  reference  to  cars  and 
planes.   13  min. 

Fruit  Spraying  —  methods,  equip- 
ment and  chemicals  used  by  fruit 
growers  and  nurserymen  to  combat 
fruit  pest.  25  min.  (Made  with  an  eye 
to  wartime  problems  of  equipment, 
shortages,  etc.) 

Protection  of  Fruit — prevention  of 
fruit  pests  by  proper  methods  of  spray- 
ing and  stresses  sprays  with  oil  basis. 
19  min. 

Oil  From  the  Earth — how  oil  is 
found  and  drilled;  use  in  transportation; 
laying  of  a  pipe-line  in  the  Middle 
East.   24  min. 


I  Bell  &  Howell  Company,  1801  Larch- 
mont  Ave.,  Chicago,  report  a  new  time- 
Iyl6mm  sound  reel  on: 

Liberian  Republic — -"the  latest  mo- 
tion picture  on  Africa's  only  Republic." 
Founded  by  ex-slaves  of  the  United 
States,  this  country  is  the  first  African 
stronghold  of  the  United  States  Armed 
Forces.  Part  of  the  film  is  devoted  to 
scenes  of  the  native  army  drilling  with 
the  assistance  of  United  States  Army 
officers. 

The  film  includes  primitive  back 
country,  as  well  as  the  modern  capitol 
Monrovia,  which  is  an  industrial  and 
commercial  center.  The  government 
head.  President  Barclay,  is  shown  at 
the  capitol  participating  in  state  cere- 
monies. 

This  spot  is  one  of  the  strategic 
crossroads  of  the   present  global   war. 


President  Barclay  of  Liberia. 

Interesting  maps  are  used  to  illustrate 
the  relative  distances  from  Liberia  to 
Brazil,  New  York  and  Rome. 

■  Mansk  Film  Library,  15-21  Dana 
Avenue,  Cincinnati,  Ohio,  now  offers  in 
16mm  sound,  the  Astor  Pictures  release  of 
Fangs  of  the  Wild.  Rin-Tin-Tin,  Jr.  is 
the  dog  star  in  this  story  about  fox  fur 
farming. 

■  E.  I.  DuPoNT  DE  Xemours  &  Co.  Inc. 
Motion  Picture  Bureau,  Wilmington. 
Delaware,  has  produced  a  film  story  of 
pest  control  research,  available  on  free 
loan  to  scliools  or  any  organized  groups. 

Guardians  of  Plenty — 27  minutes 
running  time,  16mm  sound  and  color — 
shows  for  the  first  time  the  behind-the- 
scenes  drama  in  the  testing  of  pest 
control  chemicals — weapons  to  protect 
the  vital  food  products  of  our  farms. 
The  film  emphasizes  the  importance  of 
winning  the  battle  against  parasites — 
insects  and  diseases  that  cost  us  three 
billion  dollars  a  year  in  waste — and 
reveals  how  scientists  spend  their  lives 
studying  the  habits  of  pests  and  develop- 
ing means  of  control. 


PROTECT    FILMS 


vap.Orate 

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VAPORATECCINC'  BELL*  HOWELL  CO. 
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■  Post  Pictures  Corp..  723  Seventh 
Ave.,  New  York  City,  has  acquired  the 
16mm  sound  film  distribution  of  two 
popular  theatrical  features: 

Of  Mice  and  Men — the  picturization 
of  John  Steinbeck's  powerful  novel  of 
migratory  farm  workers'  struggles  for 
existence,  enacted  by  an  all-star  cast 
including  Burgess  Meredith,  Betty 
Field  and  Lon  Chaney,  Jr. 

A  Chump  at  Oxford — a  riotous  com- 
edy with  Stan  Laurel  and  Oliver  Hardy, 
depicting  their  hilarious  adventures  at 
Oxford. 

■  The  College  Film  Center,  84  East 
Randolph  Street,  Chicago,  announces  the 
publication  of  a  supplement  to  its  1942-'43 
catalog.  Most  of  the  new  films  listed 
are  in  the  field  of  the  Social  Sciences. 
Many  were  produced  by  the  United 
States  Government  and  by  other  United 
Nations  and  are  available  in  all  parts  of 
the  country  on  a  service  fee  basis. 

■  The  National  Film  Board  of  Can- 
ada, Ottawa,  announces  the  opening  of 
an  office  in  the  International  Relations 
Center  Building  at  84  East  Randolph 
Street,  Chicago,  with  Miss  J.  Margaret 
Carter  in  charge.  The  non-theatrical  dis- 
tribution in  the  United  States  of  Na- 
tional Film  Board  productions  will  be 
liandled  from  this  office.  A  supply  of 
16mm  prints  will  be  kept  on  hand  for 
shipment  to  educational  film  libraries. 
Boards  of  Education,  and  dealers  through- 
out the  country.  .'Arrangements  have  al- 
ready been  made  with  Bell  &  Howell, 
Films  Incorporated,  and  Ideal  Pictures 
Corporation  for  the  release  of  a  block  of 
16mm  prints  of  National  Film  Board 
productions   through   regional  exchanges. 

-Among  the  titles  already  released  are 
the  following  subjects  having  to  do  with 
the  war  program  of  the  United  Nations : 
— Atlantic  Patrol,  (convoys  to  Britain)  ; 
Battle  of  Brains,  (scientific  research  on 
instruments  of  war)  ;  Children  From 
Overseas,  (care  of  British  evacuee  chil- 
dren in  Canada)  ;  Home  Front,  (women 
in  the  war)  ;  Tools  of  War,  (rise  of 
Hitler  and  war  production  in  the  democ- 
racies) ;  and  Wings  of  Youth,  (the 
story  of  the  Commonwealth  .Mr-training 
Plan.)  In  addition,  a  number  of  films 
dealing  with  the  human,  technical,  and 
natural  resources  of  Canada  will  be  dis- 
tributed. 

In  addition  to  subjects  offered  for 
general  16mm  distribution  in  the  United 
States,  one  set  of  prints  of  films  intended 
only  for  Canadian  distribution  will  be  in 
Chicago  for  preview  by  organizations 
primarily  interested  in  production.  In- 
cluded in  this  group  will  be  a  number 
of  news  clips  and  animated  color  cartoons 
made  for  the  Wartime  Prices  and  Trade 


(Continued  on  fane  78) 


Additional  Valuable  Literature  — 


"1000  AND  ONE"— The  Blue  Book  of  Films 

"1000  and  ONE"  The  Blue  Book  of  Non-Theatrical  Films, 
published  annually  is  famous  in  the  field  of  visual  instruction 
as  the  standard  film  reference  source,  indispensable  to  film 
users  in  the  educational  field.  The  NEW  EIGHTEENTH 
EDITION  lists  and  describes  over  5,000  films,  classified  into 
176  different  subject  groups  (including  large  groups  of  enter- 
tainment subjects).  A  valuable  feature  is  a  complete  alpha- 
betical list  of  every  film  title  in  the  directory.  Other  infor- 
mation includes  designation  of  whether  a  film  is  available  in 
16mm,  or  35mm,  silent  or  sound,  number  of  reels  and  sources 
distributing  the  films,  with  range  of  prices  charged. 
132  pp.  Paper.  Price  75c.  (25c  to  E.  S.  subscribers) 

FILM  EVALUATION  SUPPLEMENTS  TO 

"1000  and  ONE"  under  The  National  Film  Evaluation  Project 

A  new  and  unique  service  to  the  teaching  field.  Film  Evalua- 
tions made  by  nation-wide  Judging  Committee  of  over  500 
teachers  after  actual  use  of  the  films  with  classes. 

Each  Supplement  consists  of  50  standard-size  library  cards 
carrying  detailed  evaluations  of  50  films,  based  on  combined 
scores  of  15  or  more  teachers  on  each  film.  Three  Supplements 
have  appeared  to  date.  Another  appears  as  soon  as  50  more 
films  attain  their  quota  of  15  or  more  scores. 

Price  per  Supplement — 50  cards  in  carton,  serially  numbered 
1  to  50.  51  to  100,  101  to  150,  etc..  with  full  explanations  ac- 
companying, 50  cents  (postpaid  if  cash  with  order.) 

VISUALIZING  THE  CURRICULUM 

By  C.  F.  Hoban,  C.  F.  Hoban,  Jr.,  and  S.  B.  Zisman. 

Presents  in  theory  and  in  practice  the  basic  methodology  of 
visual  instruction  in  relation  to  classroom  procedure.  Pro- 
vides an  abundance  of  technical  guidance  in  the  form  of 
illustrative  drawings  of  photographs,  reports  of  school 
journeys,  suggestions  for  mounting  materials,  for  making 
slides,  film  strips,  etc.  It  incorporates  up-to-date  material, 
provides  a  fine  balance  in  the  treatment  of  various  teaching 
aids,  evaluates  various  types  of  aids,  and  defines  the  functions 
and  values  of  each  in  the  learning  process. 
320  pp.  Cloth.  Illus.  Price  $2.75.(20%  discount  to  schools) 

THE  AUDIO-VISUAL  HANDBOOK  (4th  Edition) 
By  Ellsworth  C.  Dent 

Presents  in  convenient  form,  practical  information  for 
those  interested  in  applying  visual  and  audio-visual  aids  to 
instruction.  The  six  chapters  include  discussions  on  "The 
Status  of  Visual  Instruction,"  "Types  of  Visual  Aids  and 
Their  Use,"  "Types  of  Audio-Visual  Aids  to  Instruction," 
"Types  of  Sound  Aids  for  Schools."  "Organizing  the  Audio- 
\''isual  Service."  "Source  List  of  Materials  and  Equipment." 

212  pp.  Illus.  Cloth.  Price  $1.75 

AUDIO-VISUAL  AIDS  TO  INSTRUCTION 
By  Harry  C    McKown  and  Alvin  B.  Roberts 

A  practical  volume  which  shows  the  teacher  and  adminis- 
trator how  to  select,  organize,  and  utilize  audio-visual  aids  of 
all  types,  in  all  subjects,  and  at  all  levels,  from  kindergarten 
through  the  twelfth  grade.  Primary  emphasis  is  on  actual 
practice  and  every  effort  has  been  made  to  include  specific 
information  and  advice  which  will  be  most  helpful  in  the 
classroom.  384pp.  Cloth.  Illus.  Price  $3.00 


PICTURE  VALUES  IN  EDUCATION 
By  Joseph  J.  Weber.  Ph.  D. 

Presents  in  unusually  interesting  form  the  results  of  the 
extended  investigations  on  the  teaching  values  of  the  lantern 
slide  and  stereograph.      156  pp.  Cloth.  Illus.  Price  $1.00 
(67c  to  E.  S.  subscribers) 

AN  ALTERNATIVE  FOR  REVOLUTION  AND  WAR 
By  Albert  E.  Osborne. 

A  stimulating,  wide-range  view  of  the  higher  potentialities 
of  visual  instruction  in  promoting  world  harmony  by  a  "more 
humanity-centered  education."  A  pertinent  reply  to  H.  G. 
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and  catastrophe."  124  pp.  Cloth.  Price  $1.25. 

EVALUATION  OF  STILL  PICTURES  FOR 
INSTRUCTIONAL   USE.    By   Lelia   Trolinger 

A  full  presentation  of  the  latest  piece  of  research  on  de- 
termination of  teaching  values  of  pictures.  Development  of 
the  Score  Card  and  elaborate  experiment  in  use  of  same.  Full 
documentation,  tabulation  of  results,  and  appendices.  The 
latest,  most  complete  and  scholarly  investigation  of  a  problem 
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PRODUCING  SCHOOL  MOVIES 
By  Eleanor  Child  and  Hardy  R.  Finch 

Based  on  first-hand  experiences  of  the  authors  and  those 
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SELECTED   FILMS   FOR  AMERICAN   HISTORY 
AND  PROBLEMS.    By  William  H.  Hartley 

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of  the  film  to  the  teaching  situation. 

275  pp.  Cloth.  Price  $2.25. 

THE  USE  OF  VISUAL  AIDS  IN  TEACHING 
By  Ella  Callista  Clark,  Ph.  D. 

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HOW  TO  MAKE   HAND-MADE   LANTERN   SLIDES 
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THE  STEREOGRAPH  and  LANTERN  SLIDE 
IN   EDUCATION.     By  G.  E.  Hamilton. 

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The  Educational  Screen 


Board  and  War  Finance  Committee  of 
the  Dominion  Government. 

The  opening  of  a  series  of  Noonday 
Movies  this  month  at  the  International 
Relations  Center,  is  also  announced.  Pro- 
ductions of  the  National  Film  Board  of 
Canada  will  be  screened  at  these  pre- 
views. During  the  first  weeks  these  pro- 
grams will  be  introduced  by  the  well- 
known  Canadian  novelist  and  lecturer, 
Mrs.  Irene  Baird. 

■  W.VLTEK     O.     GUTLOHN,     INC.     25     W. 

45th  St.,  New  York  City,  announce  the 
release  in  16mm.  sound  film  of  the  well- 
known  Dr.  Christian  series  of  feature 
motion  pictures,  available  on  long  term 
lease  and  rental. 

These  pictures,  featuring  Jean  Hers- 
holt,  have  been  given  the  highest  rating 
by  the  National  League  of  Decency.  The 
titles  are:  Meet  Dr.  Christian;  Coura- 
geous Dr.  Christian :  Dr.  Christian  Meets 
the  Women;  Melody  For  Three;  Remedy 
For  Riches:   They  Meet  Again. 

Ideal  Pictures  Corporation,  28  E. 
Eighth  St.,  Chicago,  is  also  distributing 
the  Dr.   Christian  .series. 

■  The  Bureau  of  Mines,  United  States 
Department  of  the  Interior,  has  re- 
leased a  new  series  of  instruction  films 
on  the  fabrication  of  aluminum  in 
16mm  sound,  produced  in  cooperation 
with  a  large  industrial  concern.  The 
three  films  describe  and  depict  by 
action  shots  and  animation  the  funda- 
mental techniques  of  the  various  opera- 
tions of  Machining  .Aluminum,  Riveting 
Aluminum,  and   Welding  .Aluminum. 

First  Steps  in  First  Aid— 16nini 
sound,  ,31  niin. — is  the  latest  release 
from  the  Bureau  of  Mines.  It  em- 
phasizes the  fact  that  every  person 
should  have  some  knowledge  of  the 
emergency  care  to  be  given  an  injured 
person  until  medical  aid  can  be  ob- 
tained. 

The  film  shows  some  typical  acci- 
dents and  teaches  what  should  not 
be  done  and  then  the  correct  manner 
of  handling  the  victim,  controlling 
onlookers,  directing  assistants,  and 
providing  comfort  to  the  injured.  In- 
structions include  the  method  of  lo- 
cating the  injury,  transportation  of  the 
injured,  the  recognition  of  symptoms 
and  treatment  for  shock. 

The  circulatory  system  of  the  human 
body  is  demonstrated.  Arterial  and 
venous  bleeding,  the  location  of  pres- 
sure points,  and  the  effect  on  the  nerv- 
ous system  of  physical  injury  are  de- 
scribed; application  of  tourniquets  and 
compresses  and  treatment  of  burns  are 
demonstrated.  The  dangers  of  wound 
infection,  the  use  of  antiseptics  and 
improvised  splints,  treatment  for  elec- 
tric shock,  and  the  demonstration  of 
artificial  respiration  are  included  in  the 
closing  scenes. 

Copies  arc  available,  free  except  for 
transportation  charges,  for  exhibition 
by  industrial  defense  training  classes, 
training  courses  conducted  by  the 
Army,  Navy  and  Maritime  Service, 
schools,  churches,  civic  and  business 
organizations,  and  other  similar  groups. 
Application  for  the  films  should  be  ad- 


dressed to  tlic  Bureau  of  Mines,  Divi- 
sion of  Information,  Central  Experi- 
ment Station,  4800  Forbes  Street,  Pitts- 
burgh, Pa.,  and  should  state  specifically 
that  the  borrower  is  equipped  to  show 
sound  films. 

■  Better  Homes  and  Gardens  Maga- 
zine, Des  Moines,  Iowa,  have  donated 
their  new  film  on  Victory  Gardens  to  the 
Office  of  Civilian   Defense. 

Gardens  of  Victory,  the  first  offi- 
cially approved  OCD  film  on  Victory 
gardens,  docs  an  excellent  job  of  tell- 
ing the  story  of  the  real  and  vital  need 
for  vegetable  gardens  in  every  com- 
munity in  .Xmerica  this  spring.  More 
and  more  of  our  food  nmst  be  sent 
abroad  this  year  to  our  allies  and  fight- 
ing men.  The  very  least  we  at  home 
can  do  is  to  plant  and  grow  much  of 
the   food   for   our   own   tables. 

The  film  will  help  in  getting  Victory 
Garden      Campaigns      organized     and 


under  way,  16mm  sound  prints  are 
available  for  $15  each.  Narration  is  by 
Basil  Ruysdael  of  the  Lucky  Strike 
program.  In  donating  the  picture  and 
making  prints  available  at  cost.  Better 
Homes  and  Gardens  hopes  that  mil- 
lions of  Americans  will  see  the  film 
and  profit  from  the  stirring  and  real- 
istic  message    it    conveys. 

■  National  Association  of  Manufac- 
turers, 14  W.  49th  St.,  New  York  City, 
is  distributing  without  charge  a  new 
dramatic  film  to  implement  work  cov- 
ered by  economic  and  social-science 
study  groups. 

American  Anniversary — 1  reel,  16mm 
sound — is  the  story  of  a  young  immi- 
grant who,  in  appreciating  the  many 
freedoms  existent  in  America,  rises  to 
a  position  of  leadership  in  his  factory 
and  in  his  community  by  applying  the 
principles  and  responsibilities  of  the 
American  system  to  himself. 


"R.  N.— Serving  All  Mankind" 

This  timely  film,  a  pleasing  documen- 
tation in  two  reels,  is  sponsored  by  the 
.'\merican  College  of  Surgeons  and  dedi- 
cated to  that  invaluable  co-worker  of 
surgeons  and  physicians,  the  "Registered 
Nurse,  who  lives  in  the  hearts  and  minds 
of  the  nation  as  a  .symbol  of  inspired 
womanhood."  It  is  designed  expressly 
to  stimulate  enrollment  in  nursing  schools 
to  meet  the  urgent  need  for  nurses  not 
only  in  the  present  emergency  but  in  the 
years    following   the   war   as  well.      The 


Shots  from  new  nursing  film. 

film  presents  in  intensely  human  story 
form,  the  earnest  decision  of  two  sisters 
to  follow  in  the  footsteps  of  Florence 
Nightingale,  Flora  Barton,  and  the  rest. 
In  fullest  detail  we  see  their  varied  ex- 
l)eriences,    techniral,    emotional,    psycho- 


logical, professional,  from  admission  to 
graduation,  to  the  rich  satisfaction  and 
rewards  of  devotion  to  the  high  calling 
of  the  R.  N. 

The  production  was  made  possible  by 
a  grant  from  the  Becton  Dickinson  Foun- 
dation for  the  Extension  of  Scientific 
Knowledge.  The  film  was  produced  by 
Burton  Holmes  F'ilms,  Inc.,  directed  by 
Tom  Gordon,  under  general  sui)ervision 
of  Dr.  Malcolm  T.  McEachern,  assisted 
by  Eleanor  K.  Grimm  and  Mervine  W. 
LaRue.  Vocal  narrative  is  by  the  charm- 
ing actress  Ray  Campbell  (as  the  gradu- 
ate nurse)  and  by  the  well-known  radio 
announcer.  Jack  Brickhouse  (as  the 
graduation  speaker).  Leading  roles  are 
by  experienced  actors  but  a  host  of  extras 
arc  furnished  by  the  personnel  and  offi- 
cials of  the  various  cooperating  institu- 
tions. .Advisers  and  consultants  on  the 
production  include  such  prominent  officials 
as  Director  Edna  S.  Newman  of  the  Cook 
County  School  of  Nursing,  Sup't.  Edgar 
Blake  of  the  new  Wesley  Memorial  Hos- 
pital, and  Sister  M.  Therese  of  St.  Fran- 
cis Xavier  College,  some  of  whom  appear 
personally  in  the  picture.  .All  nursing 
school  scenes  were  taken  in  the  class- 
rooms, laboratories,  library,  lounge,  din- 
ing-room, etc.,  of  the  Cook  County  School 
of  Nursing  in  Chicago :  hospital  scenes, 
including  operating  room,  nursery,  ortho- 
pedic ward,  and  other  services  were  made 
in  the  new  Wesley  Memorial  Hospital ; 
campus  scenes  are  at  St.  Francis  Xavier 
College ;  and  the  remaining  scenes  were 
set  up  and  photographed  in  the  Burton 
Holmes  Studios.  Complete  authenticity  of 
the  picture  was  assured  by  the  whole- 
hearted collaboration  of  experts  in  the 
many  professional  institutions  cooperat- 
ing. Technical  equipment,  uniforms,  and 
numerous  other  properties  were  sup- 
plied by  the  above  mentioned  institutions 
and  many  others  such  as  .American  Red 
Cross,  U.S.  Army  Headquarters,  U.S, 
Naval  Hospital,  Visiting  Nurse  Asso- 
ciation, Mercy  School  of  Nursing,  St. 
Luke's  Hospital,  and  some  twenty  other 
prominent  organizations  and  business 
firms  in  the  Chicago  area.  (Distribution 
by  Burton  Holmes  Pictures,  Chicago) 


February,   1943 


<^:/fmona  ins  iJ\oduasz± 


Page  79 


Below,  "Native  Dwellings  of  the  Pacific" — one  of 
the  Covarrubias  mural-map  reproductions,  available 
in  full-color,  25x19  inches,  from  Schwabacher-Frey 
Company,  735  Market  Street,  San  Francisco,  Calif. 


Kodachrome  Slides 
On  Nature  Subjects 

A  wide  seltxtion  of  nature  pictures  in 
color  is  available  in  2xZ  kodachrome 
slides  from  Lynwood  M.  Chace.  promi- 
nent nature  photographer  whose  work  is 
internationally  known,  having  been  pub- 
lished extensively  in  many  leading  maga- 
zines and  newspapers  throughout  the 
Unitetl  States  and  Europe  for  many 
years. 

Mr.  Chace's  extensive  collection  offers 
vivid  and  detailed  educational  studies  of 
a  variety  of  animals,  birds,  fish,  wild  and 
cultivated  flowers,  shrubs,  trees,  insects, 
reptiles,  mollusca.  and  coral  showing 
complete  life  cycles  and  stage-by-stage 
development  of  many. 

For  a  complete  listing  of  this  photo- 
graphic material,  and  information  on 
prices,  write  to  Mr.  Lynwood  M.  Chace, 
98  West  Street.  New  Bedford,  Mass. 

RCA  Victor 
Service  for  Schools 

Teachers,  supervisors  and  school  ad- 
ministrators throughout  the  I'nited 
States  arc  being  offered  a  new  service 
to  make  class-room  instruction  more 
efficient  by  the  KC.\  P-ducational  De- 
partment at  Camden,  N.  J.  The  service 
offers  advice  and  assistance  in  deter- 
mining the  most  suitable  audio-visual 
c<iuipnient  for  various  school  situa- 
tions, and  in  making  adequate  provi- 
sion for  it  in  proposed  new  buildings. 
It  is  designed  especially  to  help  in 
postwar  planning,  and  is  furnished 
without  charge   or  obligation. 

Training  programs  and  experience 
of  the  Army,  Navy,  Marine  and  Air 
Corps  were  taken  into  consideration  in 
setting  up  the  new  service,  according 
to  KUsworth  C.  Dent,  RCA  Educa- 
tional Director.  Those  responsible  for 
this  training  are  using  audio-visual 
aids  extensively  and  with  excellent  re- 
sults. In  some  reported  instances,  the 
time  normally  required  for  training 
has  been  shortened  as  much  as  forty 
percent.  This  is  causing  school  admin- 
istrators to  realize  the  potential  values 
of  such  devices  in  alt  types  of  training, 
and  to  plan  for  the  time  when  the 
equipment  will  be  available.  "It  is 
easier  and  far  less  expensive"  said  Mr. 
Dent,  "to  include  adequate  initial  pro- 
vision for  scientific  teaching  aids — 
such  as  radio,  sound,  motion  pictures 
and  recordings — than  it  is  to  revise 
building  plans  later.  School  adminis- 
trators are  being  encouraged  to  make 
such  plans  now,  and  the  new  RCA 
service  is   designed   to  assist  them." 

A  limited  war  time  catalog  of  audio- 
visual equipment  is  now  being  dis- 
tributed. It  is  available  to  all  teachers, 
supervisors  and  educational  adminis- 
trators. It  covers  everything  from 
RCA  master  control  and  sound  sys- 
tems, recording  equipment  and  pro- 
jectors to  laboratory  and  test  equip- 
ment, and  includes  a   list  of  available 


publications.  The  new  audio-visual 
catalog,  and  another  new  booklet — 
"Radio  and  Electronics"  —  are  now 
available  from  the  RCA  Educational 
Department,  Camden,  N.  J. 

New  Series  of  Radio  Transcriptions 

The  vital  role  ul  tlie  home  front  in 
the  present  global  struggle  for  the  pres- 
ervation of  freedom  is  the  theme  of 
Lest  We  Forget— Eternal  Vigilance 
Is  THE  Price  of  Liberty,  the  seventh 
series  of  13  dramatic  transcriptions  for 
radio  broadcast  and  school  utilization  to 
be  issued  by  the  Institute  of  Oral  and 
Visual  Education.  The  new  series  will 
be  available  on  March  1.  1943  to  the  435 
radio  stations  throughout  the  country 
that  have  broadcast  previous  Lest  We 
Forget  series. 

The  inspiring  stories  in  the  new  series 
are  based  upon  contemporary  history  and 
stress  the  need  for  vigilance  by  every 
.American  as  one  of  tlie  major  safeguards 
of  our  democratic  freedoms  which  must 
become  the  democratic  foundations  of  the 
post-war  world.  Each  of  the  IS-minute 
recordings  is  devoted  to  the  need  for 
vigilance  in  each  of  the  different  phases 
of  the  home  front:  the  community,  the 
.schools,  the  factory,  business,  the  home, 
religion,  the  courts,  the  government  and 
fraternal  organizations.  Four  of  the 
recordings  deal  with  problems  of  vigil- 
ance against  tyranny,  against  rumor,  for 
new  truths  and  among  war  veterans. 

The  series  was  prepared  under  the 
direct  supervision  of  Dr.  Howard  M. 
LeSourd,  Dean  of  Boston  University 
Graduate  School  and  Chairman  of  the 
.•\dvisory  Council  of  the  Institute  of 
Oral   and   Visual    Education. 

.\  special  "I  -Am  .\n  American"  re- 
cording is  included  for  broadcast  on  "I 
.Am  .An  American  Day."  A  handlwok 
on  the  series  containing  additional  ma- 
terial for  teachers  has  been  prepared  and 
is  available  upon  request  at  the  offices 
of  the  Institute  of  Oral  and  Visual  Edu- 
cation, 101  Park  Avenue,  New  York 
City. 


Motion  Pictures — 
Not  for  Theatres 

{Continued  from  paqc  55) 

1915  there  were  auto  shows  for  rural 
schools  in  Louisiana.  In  1917  the 
Y.M.C.A.  was  using  them  for  exhibi- 
tions to  soldiers,  and  they  were  part  of 
the  sy.stem  of  the  Bureau  of  Commercial 
Economics  probably  before  that.  At 
least  one  motion  picture  historian  has 
been  misled  on  the  point  of  origin  by 
hearing  of  "Hale's  Touring  Cars,"  which 
brought  -Adolph  Zukor  actively  into  the 
theatrical  business,  early  in  the  century. 
He  pardonably  assumed  that  they  must 
have  been  vehicles  for  carrying  film  en- 
tertainment throughout  the  country. 

In  reality  they  were  variants  of  the 
early  "store"  shows,  each  with  its  front 
built  to  represent  a  railroad  car,  and 
with  a  screen  at  the  other  end.  The 
show  moved,  but  not  the  place  of  exhibi- 
tion. The  Hale  Cars  were  moderately 
successful  as  novelties  in  a  few  large 
-American  cities.  The  show  would  start 
with  suitable  sound  effects  to  indicate 
that  the  train  was  leaving  the  station, 
and  the  familiar  picture  photographed 
from  the  end  of  an  actual  train  would 
confirm  the  impression  of  progress. 
There  was  a  tunnel,  of  course,  calculated 
tt)  stir  the  audience,  left  briefly  in  utter 
darkness,  to  shrieks  of  delight.  The 
body  of  the  show  was  an  ordinary  trav- 
elogue reel,  terminating — in  the  example 
I  remember,  at  least — with  a  hold-up  by 
"bad  men"  who  were  ultimately  foiled 
by  the  "train  crew"  which  then  cleared 
the  "car"  for  the  next  show. 

•About  1924  the  pul)lic  welfare  depart- 
ment of  the  State  of  Illinois,  in  order  to 
show  its  first  film,  "Illinois — the  Or- 
ganized Good  Samaritan,"  with  the  reg- 
ular educational  exhibits  at  some  eighty 
county  fairs,  even  provided  a  large, 
black-topped  tent,  thirty  by  seventy  feet, 
equipped  with  two  projectors,  a  silver 
screen,  chairs  and  electric  ventilating 
fans.  By  this  means  the  film  was  shown 
in  two  seasons  to  approximately  200.000 
persons  at  an  estimated  total  cost  of 
slightly  under  three  cents  per  head. 
(To  b*  continued) 


Page  80 


The  Educational  Screen 


HERE  THEY  ARE 


A  Trade  Directory 
for  the  Visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425  Williams  St.,  Denver,  Colo. 

Bailey   Film   Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  pase  43) 

Brandon  Films  (3) 

1600  Broadway,  New  York  City 

(See  advertisement  on  page  62) 

Bray  Pictures  Corp. 

729   Seventh   Ave.,    New   York  City 

(See  advertisement  on  page  75) 

Castle  Films  (3) 

RCA  Bldg.,  New  York  City 

(See  advertisement  on  page  37) 

College  Film  Center  (3,  5) 

84  E.   Randolph  St.,  Chicago. 

(See  advertisement  on  page  68) 

Creative  Educational  Society  (1) 

4th  Fl.,  Coughlan  Bldg. 
Mankato,  Minn. 

(See  advertisement  on  page  75) 

DeVry  School  Films  (3) 

1111  Armitage  Ave.,  Chicago 

(See  advertisement  on  page  38) 

Eastman  Kodak  Co.  (3) 

Teaching  Films  Division 
Rochester,  N.  Y. 

Eastman  Kodak  Stores,  Inc.  (3) 

Eastman   Classroom   Films 
356  Madison  Ave.,  New  York  City 

Erpi  Classroom  Films,  Inc.  (2,  5) 

1841   Broadway,  New  York  City 
(See  advertisement  on  page  63) 

Father  Hubbard  Educational  Films  (2) 
188  W.  Randolph  St.,   Chicago 
Santa  Clara,  Calif. 

(See  advertisement  on  page  74) 

Films,  Inc.  (3) 

330  W.  42nd  St.,  New  York  City 
64  E.  Lake  St.,  Chicago 
314  S.  W.  Ninth  Ave..  Portland.  Ore. 

French  Film  Exchange  (2) 

1775  Broadway,  New  York  City 

(See  advertisement  on  page  74) 

General  Films,  Ltd.  (3,  6) 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  45th  St.,  New  York  City 

(See  advertisement  on  page  71) 

Harvard  Film  Service  (3,  6) 

Basement — Germanic  Museum 
Frisbie  PI.,  Cambridge,  Mass. 
(See  advertisement  on  page  72) 

Hoffberg  Productions,  Inc.  (2,5) 

1600  Broadway,  New  York  City 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  page  41) 

Knowledge  Builders  Classroom  Films 
35  W.  45th  St.,  New  York  City  (2,  5) 

Manse   Film  Library  (3) 

1521    Dana  Ave.,   Cincinnati,  O. 

(See  advertisement  on  page  72) 

Post  Pictures  Corp.  (3) 

723  Seventh  Ave.,  New  York  City 

(See  advertisement  on  page  69) 


The  Princeton  Film  Center  (2) 

106  Stockton  St.,  Princeton,  N.  J. 

Swank's  Motion  Pictures  (3) 

620  N.  Skiiiker  Blvd.,  St.  Louis,  Mo. 
(See  advertisement  on  page  74) 

Universal  Pictures  Co.,  Inc.  (5) 

Rockefeller  Center,  New  York  City 

(See  advertisement  on  page  62) 

Visual  Art  Films  (2) 

204  Empire  Bldg.,  Pittsburgh,  Pa. 

(See  advertisement  on  page  74) 

Visual  Education  Service  (3) 

131  Clarendon  St.,  Boston,  Mass. 

Vocational  Guidance  Films.  Inc.        (2) 
2718  Beaver  Ave.,  Des  Moines,  la. 

(See  advertisement  on  page  72) 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 

918  Chestnut  St..  Philadelphia,  Pa. 

Y.M.C.A.  Motion  Picture  Bureau       (3) 

347  Madison  Ave.,  New  York  City 
19  S.  LaSalle  St.,  Chicago 
351  Turk  St.,  San  Francisco,  Cal. 
1700  Patterson  Ave..  Dallas.  Tex. 

(See  advertisement  on  page  73) 

DARKENING  SHADES 

Luther  O.  Draper  Shade  Co. 

Spiceland  Ind. 

(See  advertisement  on  page  69) 

MOTION  PICTURE 
MACfflNES  and  SUPPLIES 

The  Ampro  Corporation  (3) 

2839  N.  Western  Ave.,  Chicago 

(See  advertisement  on   inside  front  cover) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  page  43) 

DeVry  Corporation  (3,  6) 

mi    Armitage  Ave.,   Chicago 
(See  advertisement  on  page  38) 

Eastman  Kodak  Stores,  Inc.  (3) 

Kodascope  Libraries 

356  Madison  Ave.,  New  York  City 
General  Films,  Ltd.  (3,  6) 

1924  Rose  St.,  Regina,  Sask. 

156  King  St.,  W.  Toronto 
Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago 

(See  advertisement  on  page  41) 

RCA   Manufacturing  Co.,   Inc.        (2) 

Educational  Dept.,  Camden,  N.  J. 

(See  advertisement  on  page  67) 

S.  O.  S.  Cinema  Supply  Corp.  (3,  6) 

449  W.  42nd  St.,  New  York  City 
Victor  Animatograph  Corp.  (3) 

Davenport.  Iowa 

(See  advertisement  on  page  61) 

Visual  Education  Service  (3) 

131  Clarendon  St.,  Boston.  Mass. 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago,  111. 

(See  advertisement  on  outside  back   cover) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


SLIDES  AND  FILMSTRIPS 

Ideal  Pictures  Corp. 

28  E.  Eighth  St.,  Chicago.  111. 

(See  advertisement  on  page  41) 

The  Jam  Handy  Organization 

2900  E.  Grand  Blvd.,  Detroit,  Mich. 
(See  advertisement  on  page  65) 

Keystone  View  Co. 
Meadville.  Pa. 

(See  advertisement  on  page  42) 

Lynwood  M.  Chace 

98  West  St.,  New  Bedford,  Mass. 

(See  advertisement  on  page  72) 

Photo  &  Sound,  Inc. 

153  Kearny  St.,  San  Francisco,  Cal. 

(See  advertisement  on  page  73) 

Radio-Mat  Slide  Co.,  Inc. 

222  Oakridge  Blvd., 
Daytona  Beach,  Fla. 

(See  advertisement  on  page  74) 

Society  for  Visual  Education,  Inc., 

100  E.  Ohio  St.,  Chicago,  111. 

(See  advertisement  on  outside  bacit  cover) 

Visual  Education  Service 

131  Clarendon  St.,  Boston,  Mass. 

Visual  Sciences 
SufFern,  New  York 

(See  advertisement  on  page  74) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,  N.  Y. 

(See  advertisement  on    inside  back   cover) 

DeVry  Corporation 

1111  Armitage  Ave.,  Chicago 

(See  advertisement  on  page  38) 

General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Keystone  View  Co. 
Meadville,  Pa 

(See  advertisement  on  page  42) 

Society  for  Visual  Education,  Inc. 
100  E.  Ohio  St.,  Chicago,  111. 
(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  40) 

Williams,  Brown  and  Earl,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 

16 

mm 

silent. 

(2) 

indicates 

16 

mm 

sound. 

(3) 

indicates 
silent. 

16 

mm 

sound 

and 

(4) 

indicates 

35 

mm 

silent. 

<5) 

indicates 

35 

mm 

sound. 

(6> 

indicates 
silent. 

35 

mm 

sound 

and 

Continuous  insertions  under  one  heading,  $2.00  per  issue;  additional  listings  under  other  headings,  $1.00  each. 


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THE   MAGAZINE   DEVOTED   TO   AUDIO-VISUAL  AIDS   IN    EDUCATION 


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MARCH.      1943 


l-v»    11 


yiTAL 

in  Today's  War  — 
and  Tomorrow's  Victory 

Outstanding  in  training  millions  for  War  .  .  . 
Outstanding  in  training  more  millions  for  Peace 
.  .  .  Victor  Animatophones  provide  the  most 
modern  medium  for  faster  learning,  more  in- 
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These  amazing  16MM  Sound  Motion  Picture 
Projectors  —  working  both  regular  shifts  and 
"swing  shifts" — are  continually  doing  their 
dynamic  War  job  in  this  preferred  method  of 
teaching.  Their  precision  craftsmanship,  their 
exclusive  features,  their  world-wide  use — are  the 
reward  that  come  only  to  the  pioneer's  efforts 
in  this  rapidly  growing  industry.  Look  to  Victor 
for  your  future  training  and  teaching  methods. 


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DISTRIBUTORS 
THROUGHOUT  THE  WORLD 


CTOR  ANIMATOGRAPH  CORPORATIC 


DAVENPORT,  IOWA 
188  W.  Randolph  Street,  Chicago 
242  W.  55th  Street,  New  York 


The  EDUCATIONAL  SCREEN 


THE  EDUCATIONAL  SCREEN 
Staff 

Nelson  L.  Greene    -    .    -    Editor-in-Chief 

Evelyn  J.   Baker    -    Advertising  Manager 

Josephine  Hoffman  -  -  Office  Manager 
Department    Editors 

John  E.  Dugan    -    Haddon  Heights,  N.  J. 

Donald  A.  Eloridge    -    New  Haven,  Conn. 

WiLBER    Emmert     -     -     .    -     Indiana    Pa. 

Hardv  R.   Finch     -     -    Greenwich,   Conn. 

Ann  Gale Chicago,   111. 

David  Goodman     -     -     New   York,   N.  Y. 

Josephine  Hoffman    -    -    -    Chicago,  111. 

L.  C.  Larson     -    -     -     Bloomington,   Ind. 

F.  Dean  McCluskv    -    Scarborough,  N.  Y. 

Etta  Schneider  -  -  New  York,  N.  Y. 
Editorial  Advisory  Board 

Ward  C.  Bowen,  Chief,  Bureau  of  Radio 
and  Visual  Aids,  State  Education  De- 
partment, Albany,   N.   Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools,  San  Diego, 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  E.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division,  Uni- 
versity of  Wisconsin,  Madison,  Wis. 

J.  A.  Holunger,  formerly  Director,  Depart- 
ment of  Science  and  Visualization,  Pub- 
lic Schools,   Pittsburgh,  Pa. 

BovD  B.  Rakestraw,  Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia,  Berkeley,  Calif. 

Paul  C.  Reed,  Head,  Educational  Division, 
Bureau  of  Motion  Pictures,  Office  of 
War  Information,  Washington,  D.  C. 

W.  Gayle  Starnes,  in  charge  of  Audio- 
Visual  Aids,  Department  of  University 
Extension,  University  of  Kentucky, 
Lexington,    Ky. 

Leua  Trolinger,  Secreury,  Bureau  of 
Visual  Instruction,  Extension  Division, 
University  of  Colorado,  Boulder,  Cole. 

W.  W.  Whittinghill,  Director,  Depart- 
ment of  Visual  and  Radio  Education, 
Board  of  Education,  Detroit,  Mich. 

SUBSCRIPTION  PRICE 

Domesfic  $2.00 

Canada  $2.50 

Foreign    „ $3.00 

SInqU  Copiat J5 


VOLUME  XXII  MARCH,  1943 


NUMBER  THREE 
WHOLE  NUMBER  210 


Contents 

Cover  Picture— Silhouette  of  the  USS  North  Carolina  off  an  uniden- 
tified coastline  (Official  U.  S.  Navy  Photograph) 

The  Wartime  Use  of  Films  In  Canada Wesley  Greene  86 

Film  and  Slide  Booking Walter  Johnson  89 

Sing  a  Song  of  Safety Antoinette  Low^ry  91 

Motion  Pictures — Not  for  Theatres  Arthur  Edwin  Krows  94 

Training    Millions — with   Movies J.   H.   McNabb  97 

School-Made   Motion  Pictures       Conducted  by  Hardy   R.   Finch  99 

The  Air  Age — In  Hand-Made  Lantern  Slides Ann  Gale  101 

The  Film  and  International 

Understanding Conducted   by   John    E.    Dugan  102 

The  Literature  in  Visual  Instruction 

A  Monthly  Digest            ..Conducted  by  Etta  Schneider  104 

Experimental  Research  in  Audio-Visual 

Education Conducted    by   David   Goodman  108 

Department  of  Visual  Instruction   Notes 110 

News  and  Notes Conducted  by  Josephine  Hoffman  112 

Current  Film  News 1 16 

Among  the  Producers 1 19 

Here  They  Are!  A  Trade  Directory  for  the  Visual  Field 120 


The  EDUCATIONAL  SCREEN  published  monthly  except  July  and  August  by  The 
Educational  Screen,  Inc.     Publication  OfHce,  Ponfiac,  Illinois;  Executive  Office,  64 
East  Lake  St.,  Chicago,  Illinois.     Entered  at  the  Post  Office  at  Pontiac,  Illinois,  ai 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lale  St.,  Chicago,  IH. 


Page  84 


The  Educational  Screen 


''The  Man  at  the  Gate" 

16mm  Sound      •      Running  time  50  minutes 

Characterized  by  notable  acting,  fine  photography  and  picturesque  settings, 
this  timely,  genuiljp  and  warmly  human  story  will  move  and  inspire  all  who 
see  it.  Its  theme  of  faith  lost  and  finally  restored  takes  on  added  significance 
in  the  light  of  present  tragic  world  happenings. 

BERTRAM  WILLOUGHBY  soys: 

"It  is  with  justifiable  pride  that  I  offer  to  every  school  what  I  consider 
to  be  THE  non-theatrical  film  of  the  year— THE  MAN  AT  THE  GATE.  That 
my  organization  can  exclusively  offer  this  film  is  the  climax  of  my  23  years 
service  to  the  entire  non-theatrical  field.  I  consider  this  film  the  most  timely 
and  significant  subject  in  the  16  mm  Industry  today." 

Write  TODAY  about  rental  rates  and  booking  datesf 


Do  you   have  our  large,  new  23rd  Edition  Catalog 
with    its    handy    subject   classification    for   schools: 


Adventure 

Agriculture 

Animal  and  Marine  Life 

Art  and  Architecture 

Astronomy 

Athletics  and  Sports 

Bird  Life 

Electricity 

Famous  Personalities 


Geography 

Handicraft  Teaching 

Historical 

Human  Relations 

Insect  Life 

Industrial 

Juvenile 

Law  Film  Lectures 

Literary 


Musical 
News  Reels 
Plant  Life 
Natural  Science 
Physical  Science 
Safety  and  Health 
Victory  Subjects 
Recess  Programs 
Foreign  Language  Films 


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IDEAL  PICTURES  CORPORATION 


Write  to  nearest  office: 


IDEAL  PICTURES  CORP.,  28  E.  Eighth  Street,  Chicogo,  in. 
IDEAL  PICTURES  CORP.,  18  S.  3rd  St.,  Memphis,  Tenn. 
IDEAL  PICTURES  CORP.,  2408  W.  7th  St.,  Lo»  Angeles,  Calif. 
IDEAL  PICTURES  CORP.,  1739  Oneida  St.,  Denver,  Colo. 
STEVENS-IDEAL  PICTURES,  89  Cone  St.,  N.  W.,  Atlanta,  Ga. 
IDEAL  PICTURES  CO.,   1120  E.  Yandell  St.,  El  Paso,  Texas. 


NATIONAL-IDEAL  PICTURES,   INC.,   2024   Main   St.,   Dallas,   Texas. 
OWENS-IDEAL  PICTURES  (Drawer  H,  Milwaukee  Branch),  Portland,  Oregon. 
IDEAL-SOUTHERN  16MM  PICTURES  CO.,  172  N.  E.  96lh  St.,  Miami,  Florido. 
IDEAL-SOUTHERN  16MM  PICTURES  CO.,  210  E.  Franklin  St.,  Richmond,  Va. 
BERTRAM  WILLOUGHBY  PICTURES,  Inc.,  1600  Broadway,  New  York  City. 


March,   194} 


Page   85 


KEYSTOI^E 
AIRCRAFT  RECOGI^ITIOX  SERIES 


]\o,  41  front  Series 
Boeing  B'17E  ''Flying  Fortress''   (U.S.) 

W — Low;  leading  and  trailing  edges  tapered,  with  round  tips;  dihedral;  full 
cantilever. 

E — Four;  radial;  Wright  Cyclones. 

F — Very  long;  round;  bombardier's  nose  blister  resembles  eyes  and  mouth  of 
a  fish. 

T — Dorsal   fin;    tail  gunner's  blister  behind  fin;  single. 

O — Gun  turret  on  top  of  fuselage  aft  of  cockpit;  turret  under  fuselage  aft  of 
wings;  wheels  do  not  completely  retract;  nacelles  of  outer  engines  are 
shorter  than  those  of  inside  engines. 


Authentic— Usable— Vp'to-Date 

ith  or  without  Flashmeter,   but  Flashmetet 
Sample  pages  from  the  Teachers''  Manual    will    he  sent  upon    request. 


May  be  used  with  or  without  Flashmeter,   but  Flashmeter  teohniques  are 
recommended. 


Keystone   Viewr  Company 

Meadviile.    Penna. 


Page   86 


The  Educational  Screen 


The  Wartime  Use  of  Films  in  Canada 


WESLEY    GREENE 

Coordinator  of  Distribution 

National  Film  Board  of  Canada,  Ottawa 

IN  NOVEMBER  1941,  as  storm  clouds  gathered, 
this  Conference  met  to  discuss  the  use  of  mechanical 
aids  in  education.  We  were  then  concerned  with 
the  job  of  educating  millions  of  people  to  make  de- 
cisions of  world  wide  import.  The  speed  of  events  and 
the  violence  of  historical  change  since  then  have  more 
than  validated  the  views  expressed  on  the  size  of  the 
job  and  the  terrible  urgency  of  getting  it  done.  During 
this  period,  an  educational  program,  the  like  of  which 
has  never  been  known,  has  been  carried  on  in  the  United 
States.  And  to  speed  up  this  program  film  producers 
and  utilizers  from  four  fields  have  been  called  into 
action.  The  entertainment  motion  picture  industry, 
educational  jiroducers  and  distributors,  producers  of 
industrial  advertising  films,  and  documentary  film  pro- 
ducers have  gone  into  government  service.  In  the 
United  States  Hollywood  has  been  furnishing  the  Army 
and  Navy  with  technicians  and  has  undertaken  a  great 
volume  of  production  and  distribution  at  its  own  ex- 
pense and  in  the  national  interest.  Industrial  film  pro- 
ducers have  worked  with  the  United  States  Office  of 
Education  on  the  production  of  many  subjects  for  indus- 
trial training.  The  audio-visual  profession  has  furnished 
the  Army  and  Navy,  the  Office  of  War  Information, 
and  the  Department  of  State  with  experts  on  the  utiliza- 
tion of  films.  And  documentary  film  producers,  both 
at  home  and  abroad,  have  turned  out  many  subjects  to 
stir  civilians  to  action. 

In  this  rush  of  film  activity  two  trends  are  becoming 
apparent.  Government  and  industry  have  adapted  class- 
room techniques  to  the  adult  field,  while  schools  all 
over  the  country  are  showing  programs  of  pictures  to 
give  information  and  motivate  action.  This  means  that 
millions  of  people  are  learning  the  difference  between 
teaching  films  and  program  films.  Millions  of  fighters 
and  workers  are  being  instructed  with  the  aid  of  films. 
Before  long  every  school  board  in  the  United  States 
and  Canada  will  have  at  lea.st  one  member  who  will 
know  the  meaning  of  educational  films.  When  audio- 
visual programs  are  up  for  discussion  there  will  always 
be  someone  j^rcsent  to  tell  a  story  about  the  use 
of  training  films  when  he  was  in  the  Army  or  Navy. 
Meantime,  while  school  projectors  are  being  used  (and 
rightly  so)  to  show  A.I^.P..  home  front,  hemisphere, 
and  war  information  films  we  must  not  lose  sight  of 
the  techniques  of  using  films  in  teaching  developed  by 
a  generation  of  research. 

A  second  trend  of  major  importance  is  the  realization 
of  the  international  character  of  the  film  jobs  to  be  done. 
Both  training  and  war  information  films  produced  by 
the  United  Nations  are  being  exchanged  and  distributed 
on  a  world-wide  basis.  In  a  sense,  films  have  always 
been  on  an  international  basis,  but  only  as  their  dis- 


*Address  delivered  at  the  Sixth  .\niiual  Southern  Conference 
on  Audio- Visual  Education,  Atlanta.  November  4-6,  1942. 


Scenes  from  the  film  "Peoples  of  Canada'" — 

tribution  was  concerned,  not  as  their  intent  was  con- 
strued. Entertainment  films  were  made  to  entertain, 
industrial  films  to  sell,  instructional  films  to  teach,  and 
documentary  films  to  excite  men  to  action.  But  even 
the  documentary  groups  spent  most  of  their  time  on 
such  subjects  as  housing,  education,  health,  soil  con- 
servation, and  slum  clearance.  This  was  true  both  in 
America  and  England.  With  the  war,  however,  docu- 
mentary was  the  first  to  put  production  on  an  inter- 
national plane.  The  reasons  for  this  are  found  in  the 
history  of  documentary.  While  education  was  trending 
toward  progressivism  and  teachers  here  and  there  were 
occasionally  using  mechanical  aids  to  explain  facts, 
documentary  arose  outside  the  educational  field. 
Contribution  of  Documentary  Film 
The  story  of  the  development  of  documentary  in 
England  under  the  dynamic  leadership  of  John  Grierson 
has  been  told  many  times.  In  1927,  after  three  years 
on  a  Rockefeller  fellowship  at  the  University  of  Chicago, 


March,   194} 


^PmWJc  Llbr>r> 
•^wiww  City,  M« 


Page   87 


The  story  of  the  Canadian  Government's 
fibn  production  and  distribution  program 
to  inform  and  motivate  the  civilian  front. 


Released  by  the  National  Film  Board  of  Canada. 

Grierson  selected  film  as  the  most  jjowerful  medium 
available  for  use  in  a  campaign  of  human  betterment. 
He  founded  and  headed  successively  the  Film  Unit  of 
the  Empire  Marketing  Board,  the  G.P.O.  Film  Unit. 
I'-ilm  Center  (London)  and  the  National  Film  Board 
of  Canada.  "W'hat  made  documentary  successful  as  a 
movement."  to  quote  Grierson,  "was  that  in  a  decade 
of  spiritual  weariness  it  reached  out,  almost  alone 
among  the  media,  towards  the  future.  Obviously,  it  was 
the  public  purpose  within  it  which  commanded  govern- 
mental and  other  backing." 

Documentary  was  a  new  idea  for  public  education, 
an  idea  which  grew  under  strong  leadership  and  with 
careful  planning.  Its  underlying  concept  was  that  the 
world  is  in  "a  phase  of  drastic  change  aiTecting  every 
manner  of  thought  and  ])ractice,  and  the  public  com- 
prehension of  the  nature  of  that  change  is  vital."  Each 
step  in  the  growth  of  documentary  was  "an  attempt  to 
understand  the  stubborn  raw  material  of  our  modern 
citizenship,  and  wake  the  heart  and  the  will  to  their 


mastery."  W'hen  war  broke  in  1939  and  citizens  of  the 
western  democracies  turned  toward  international  fields 
seeking  information  and  exj)lanations,  documentary 
logically  buckled  down  to  the  job  of  presenting  creative- 
ly and  firmly  the  material  upon  which  thinking  people 
might  base  their  answers.  While  .Americans  forged 
ahead  in  the  production  and  utilization  of  military  and 
industrial  films,  Canada  set  about  a  program  of  pro- 
duction and  di.stribution  on  the  civilian  front  which  has 
extended  far  beyond  her  physical  boundaries. 

In  1939  Grierson  became  Government  Film  Com- 
missioner in  Canada.  In  May  the  Dominion  Govern- 
ment had  pas.sed  the  National  Film  Act  setting  up  the 
National  I'^ilm  Board  of  Canada  to  coordinate  the  film 
production  and  distribution  jjrograms  of  all  branches 
of  the  national  government.  Before  this  the  Dominion 
(Government  had  confined  its  film  activities  pretty  much 
to  the  tourist  field,  but  as  the  war  went  on  films  to  pro- 
mote tourism  were  for  the  mo.st  part  taken  out  of  dis- 
tribution and  all  production  of  such  materials  stopped. 
.Since  Canada  is  physically  and  spiritually  closer  to 
the  United  .States  than  any  other  country  it  should  be 
in  order  for  Americans  to  know  more  of  that  large  area 
on  the  other  side  of  the  undefended  frontier.  Canadians 
read  American  magazines  and  books,  use  American  in- 
dustrial products,  and  supply  Americans  with  a  number 
of  important  products.  Americans  rarely  ever  read 
Canadian  magazines,  but  before  the  war  over  ten  mil- 
lion Americans  visited  Canada  each  year.  Perhaps 
Canada  has  been  so  close  to  the  United  States  that  edu- 
cators have  overlooked  its  history.  Some  facts  stand 
out.  More  than  half  the  people  of  Canada  live  within 
one  hundred  miles  of  the  undefended  frontier  stretch- 
ing almost  4,000  miles  from  coast  to  coast.  Ninety  per 
cent  of  the  population  lives  within  two  hundred  miles 
of  the  border.  The  people  on  the  Canadian  prairies  are 
closer  to  American  midwesterners  than  to  the  inhabit- 
ants of  eastern  and  western  Canada.  One  of  the  two 
forms  of  government  under  which  luigli.sh  speaking 
people  live  is  found  in  Canada.  Americans  live  under 
the  other  form. 

With  a  population  of  only  11.500.000  Canada  has 
made  significant  contributions  to  the  total  program  of 
the  United  Nations,  and  bears  out  well  the  maxim  that 
the  job  of  every  democracy  is  an  international  job.  So 
in  the  matter  of  films,  the  National  Film  Board  of 
Canada  set  up  a  program  both  on  the  home  and  foreign 
fronts.  It  not  only  produced  films  to  give  people  at 
home  information  on  the  activities  and  welfare  of  Ca- 
nadian soldiers,  sailors  and  airmen  at  home  and  abroad, 
but  broadened  its  program  to  include  problems  of  major 
international  concern.  To  use  Grierson's  phrase,  the 
National  Film  Board  concerned  itself  "primarily  with 
the  relation  of  local  strategies  to  larger  world  ones." 

A  series  of  two-reelers  was  produced  at  the  rate  of 
one  subject  a  month  and  distributed  lx)th  theatrically 
and  non-theatrically.  First  in  the  international  series 
was  ChurchiU's  Island,  and  this  was  followed  by  This  Is 
Blitc,  Food  Weapon  of  Conquest,  New  Soldiers  Are 
Tough,  Inside  Fighting  Russia,  Inside  Fighting  China, 
Mask  of  Nippon,  and  Fighting  Freighters.  United 
Artists  Corporation  is  distributing  these  titles  under 
the  caption  "World  in  Action"  not  only  in  the  United 
States,  but  also  in  South  America  and  many  other  parts 
of  the  world.   Distribution  is  on  a  commercial  basis.  As 


Page   88 


The  Educational  Screen 


'■»::  ''.,ii&^^  j*«6§ii*-.i^ . 


From    two    films    in    "The    World   in 

Action"   series:    (left)    "New    Soldiers 

^    Are  Tough,"  (below)  "Battle  for  Oil." 


Grierson  reiiiarked  in  a  spcfch  l)et(irc'  tlic  Xational 
Board  of  Revit-w,  "We  said  from  the  first  that  we  were 
not  giving  it  away.  We  were  selling  it  coinmercially 
because  if  it  wasn't  good  enough  to  sell  commercially, 
we  weren't  any  more  interested  in  it  than  the  industry. 
In  other  words,  we  decided  to  ]:)ut  our  work  on  a  normal 
entertainment  basis  and  use  that  as  a  yard  stick  of  our 
success."  Giving  a  bad  film  away  does  not  make  it  a 
good  one. 

Another  .series  of  films.  "Canada  Carries  on,"  is  dis- 
tributed in  Canada  on  a  commercial  basis.  Additionally, 
the  theaters  receive  from  the  National  Film  Hoard  a 
weekly  item  of  national  public  interest  which  is  spliced 
into  the  regular  newsreel  releases,  and  about  a  dozen 
three-minute  trailers  a  year.  Only  the  trailers  and  an 
occasional  campaign  film  of  greater  length  goes  out  to 
the  theatres  on  a  free  loan  basis.  The  theatres  of  Canada 
have  cooperated  magnificently  with  the  Government  in 
putting  the  grim  realities  of  the  war  and  problems  to 
be  met  on  the  home  front  before  the  millions  of  people 
in  the  country. 

After  a  number  of  months  theatrical  releases  become 
available  to  16mni  film  u.sers,  but  in  addition  many 
subjects  are  i)roduced  for  relea.se  almost  exclusively  in 
the  non-theatrical  field.  A  series  of  films  has  been  pro- 
duced to  improve  industrial  morale.  One  of  these  is 
Pic/hting  Ships,  demonstrating  that  the  front  lines  also 
extend  to  the  workers  in  the  plants  which  fabricate  parts. 
A  recruiting  film,  fiattle  Is  Our  Business,  has  just  been 
completed,  and  .several  more  titles  in  this  field  are  in 
l^roduction.  IVoiiicn  Arc  Warriors  showing  the  con- 
tribution of  the  women  of  Russia,  England  and  Canada 
has  been  acce])ted  with  great  enthusiasm  by  American 
audiences. 

All  non-war  film  production  has  ceased  with  the 
exception  of  subjects  on  health  and  nutrition,  and  a 
.series  of  kodachroTue  sound  films  on  the  peoples  of 
Canada.  These  color  films  on  the  national  groups  of 
Canada  are  of  value  i)oth  at  home  and  abroad.  They 
are  used  on  war  information  film  i)rograms  and  they 


are  distributed  to  Canadian  troops  and  officials  abroad. 
.\  few^  carefully  selected  titles  are  being  distributed  in 
16miu  size  in  Latin-America  in  order  to  show  life  atid 
freedom  in  a  democracy.  Spanish  and  Portuguese  ve5-- 
sions  of  Peoples  Of  Canada  and  Canadian  Landscape 
have  been  made  and  sent  South  for  general  distribution. 

The  National  Film  Board  has  jirodiiced  some  military 
training  films,  but  in  this,  and  in  the  industrial  training 
field,  Canada  draws  heavily  upon  the  United  States  and 
liritain.  Prints  of  all  the  Office  of  War  Information 
releases  approved  for  export  by  the  Department  of  State 
are  being  distributed  non-theatrically  in  Canada.  A 
number  of  the  subjects  produced  for  the  Coordinator  of 
Inter-American  Affairs  are  scheduled  for  non-theatri- 
cal distribution.  The  United  States  Office  of  Educa- 
tion productions  have  been  of  great  value  to  Canadian 
industries  and  training  centers.  Through  the  educa- 
tional film  libraries  of  the  country,  productions  of  the 
I'ritish  Ministry  of  Information  receive  wide  distribu- 
tion in  Canada,  both  theatrically  (in  a  number  of  cases) 
and  non-theatrically. 

The  National  Film  Board  distributes  films  non- 
theatrically  by  ])lacing  ])rints  with  thirty  educational 
distributors,  who  in  turn  make  them  available  to  ex- 
hibitors. With  the  exception  of  an  occasional  film  for 
preview  inir))oses  the  National  I'^ilm  Board  itself  does 
tiot  engage  in  retail  distribution.  At  the  present  time 
fifty-three  o])erators  on  the  Government  payroll  rurj 
circuits  in  order  to  take  the  story  of  the  war  and  in- 
formation about  other  parts  of  Canada  to  rural  and 
trade  union  audiences.  Each  operator  covers  an  average 
of  twenty  communities,  going  to  each  once  a  month. 
Total  audiences  of  over  300,000  different  people  living 
in  more  than  a  thou.sand  Canadian  communities  receive 
these  programs.    .Study  gtiides  and  pamphlets  are  dis- 

(Coticludi'd  on  page  93) 


March,   194} 


Page  89 


Film  and  Slide  Booking 


WALTER    JOHNSON 

Coordinator  of  Instructional  Materials 
Public  Schools,  River  Forest,  Illinois 


A  discussion  of  "block"  and  "spot"  booking, 
showing  advantages  of  frequent  and  continuous 
ordering  over  mass  bookings  for  months  ahead. 

T11I':KI''  is  ainpW  research  to  prove  the  educational 
l)ijteiicy  of  tlie  motion  picture  and  its  less  spectacu- 
lar relative,  the  slide.  A  good  deal  of  time  and 
encrjiy  have  been  spent  on  tlie  ])roper  jjroduction  and 
classroom  utilization  of  these  instruments.  Film  pro- 
ducers have  called  upon  educators  to  assist  in  film 
production.  Specialists  in  visual  instruction  have  sub- 
mitted tried  classroom  practices  to  teachers  and  admin- 
istrators. 

Excellent  films  are  now  available  to  help  children 
.i;ain  a  realistic  understanding  in  relation  to  the  things  in 
which  they  are  interested.  Teachers,  on  the  other  hand, 
are  becoming  increasingly  alert  concerning  the  full 
educational  value  of  films  and  slides  when  they  are 
looked  upon  as  tools  of  learning — a  means  of  answering 
IKTtinent  i(uestions,  not  mere  entertainment. 

There  remains,  however,  a  fundamental  weakness  in 
tlie  visual  aids  i>rograms  of  the  big  majority  of  our 
schools.  This  weakness  resolves  itself  around  the 
])roblem  of  "getting  the  appropriate  films  or  slides  to  a 
teacher  at  the  appropriate  time."  The  prevailing  prac- 
tice of  "year  in  advance"  and  "semester  in  advance" 
booking  kills  the  goose  before  the  golden  eggs  are  laid. 

It  is  obvious  that  a  creative  teacher,  constantly  sen- 
sitive to  the  individual  needs  and  interests  of  children, 
would  be  able  to  make  very  little  use  of  a  stereotype 
film  and  slide  schedule  whicli  was  decided  u])on  months 
in  advance  by  a  Visual  Education  Committee,  a  \'isual 
Aids  Director  or  a  superintendent. 

One  naturally  asks  the  (juestion :  "Why  are  so  many 
school  systems  still  clinging  to  the  block  booking'  tech- 
nique as  a  means  of  meeting  film  and  slide  needs?  Part 
of  the  answer  lies  in  the  following  beliefs  and  j^ractices 
which  prevail  in  many  school  organizations : 

(a)  "Year  in  .Advance"  booking  fits  perfectly  in  the 
cut  and  dried  tyj)e  of  curriculum  planning.  If  the 
administration  believes  that  every  seventh  grade  should 
be  studying  Chile  in  January,  it  is  logical  to  book  films 
on  Chile  for  January. 

(b)  When  visual  aids  are  ordered  at  a  given  time 
during  the  year  for  the  following  school  year,  the  ad- 
ministrative problem  is  minimized.  After  all  orders 
are  confirmed,  all  one  has  to  do,  from  a  booking  stand- 
]>oint,  is  wait  for  deliveries  and  return  materials  on 
.schedule. 

(c)  Some  administrators  and  teachers  use  visual 
materials  only  because  of  the  "educational  respect- 
ability" involved.  They  realize  that  good  modern 
.schools  u.se  films  and  slides,  but  the  problem  of  pro])er 
utilization  has  been  neglected.  They  figure  that  advance 
ordering  a  certain  number  of  films  each  year  will  attest 
to  the  modernity  of  the  school  system. 

(d)  Some  administrators  feel  that  "year  in  advance" 


planning  stimulates  teachers  to  plan  in  such  a  way  as 
to  avoid  spending  too  much  time  on  one  center  of 
interest.  Some  teachers,  to  strengthen  a  similar  point 
of  view,  feel  that  after  a  few  years  of  experience  a 
teacher  can  anticipate  cliildrcn's  interests  to  such  an 
extent  that  they  practically  know  what  a  child's  interest 
is  going  to  be  at  a  given  time  during  a  school  year.  In 
certain  .school  systems,  therefore,  the  film-slide  schedule, 
in  reality,  becomes  one  of  the  main  curricular  guideposts. 

(e)  Many  systems  have  adopted  the  "months  in 
advance"  boc^king  technique  because  of  the  difficulty 
involved  in  obtaining  films  when  they  are  wanted.  How- 
ever, the  many  schools  following  the  "block  booking" 
technique  are  partly  responsible  for  this  situation. 
Schools  wi.shing  to  make  valuable  use  of  materials  are 
often  deprived  of  them  by  schools  that  have  previously 
engaged  them  in  indiscriminate  "advance"  booking. 

(f)  The  .special  financial  inducements  oflfered  for 
"block  booking"  have  encouraged  this  practice.  "Bar- 
gaining Booking"  is  doing  much  to  dim  the  vision  of 
many  of  those  concerned  with  the  best  pos.sible  utiliza- 
tion of  films  and  slides. 

(g)  It  is  the  belief  among  many  administrators  that 
the  contribution  of  visual  education  to  learning  does 
not  ju.stify  having  a  ])art  time  or  full  time  person  to 
facilitate  the  use  of  the  visual  materials.  This  belief 
and  its  resultant  effect  on  teacher  attitude  has  led,  in 
many  cases,  to  an  "everybody's  business  is  nobody's 
business"  point  of  view.  Mumbo  jumbo  film  booking 
has  resulted  in  many  uninsi)iring  visual  aids  programs. 

(h)  Many  schools  cling  to  block  booking  for  eco- 
nomic reasons.  They  figure  that  ordering  the  same 
film  two  or  more  times  during  the  year  is  sheer  waste 
of  money.  They  hold  to  the  argument  that  it  is  better 
to  be  able  to  get  many  films  for  showing,  before  many 
groups  regardless  of  the  correlation  with  what  is  going 
or  in  classrooms. 

( i)  Many  .school  systems  are  still  "hog  tied"  to  block 
booking  because  "it  is  the  best  they  can  do  under  the 
circumstances."  At  times  an  equipment  shortage  allows 
for  little  flexibility  in  meeting  individual  teacher  needs. 

In  River  Forest  we  are  attempting  to  meet  the  chal- 
lenge of  "getting  the  appropriate  films  or  slides  to  a 
teacher  at  the  a])])ropriate  time." 

We  firmly  believe  that  the  motion  picture,  together 
with  other  visual  materials,  has  great  ])romise  as  a 
means  for  clarifying  meanings.  We  believe  that  life  in 
our  classrooms  .should  be  closely  related  to  the  living, 
changing  local  and  world  community.  We  subscribe  to 
the  point  of  view  that  visual  aids  are  of  great  edu- 
cational value  when  they  help  a  group  of  children  to 
better  understand  or  interpret  a  problem  whicli  seems 
])ertinent  to  them  at  a  given  time. 

To  meet  the  challenge  of  providing  relevant  materials 
to  particular  groups  at  particular  times,  we  have  used 
the  "spot  booking  technique"-  as  a  method  of  meeting 
our  film  and  slide  needs.     The  following  .summary  of 


1.  Block  booking  refers  to  the  technique  of  booking  a  large 
number  of  films  or  slides  several  months  in  advance  of  the 
time  they  will  be  used. 


2.  Spot  booking  refers  to  the  technic|uc  of  ordering  films 
as  the  need  arises  in  a  classroom. 


Page  90 


The  Educational  Screen 


beliefs  and  practices  will  perhaps  clarify  our  position 
and  methods : 

(a)  A  living  curriculum  grows  out  of  the  day  to 
day  planning  of  individual  groups  under  the  able  guid- 
ance of  the  classroom  teacher  whose  leadership  is  col- 
ored by  continuous  intergroup  planning.  The  "Social 
Studies  Committee"  of  our  River  Forest  schools  has 
made  the  recommendation  that  the  sixth  grades  learn 
about  the  peoples  of  Europe  and  Asia — their  place  in 
history  and  their  place  in  relation  to  their  general 
environment. 

In  September  each  of  our  four  sixth  grades  ap- 
proached the  study  of  Eurasia  from  a  different  angle. 
Our  visual  aids  program,  in  order  to  be  effective  had  to 
be  adapted  to  the  needs  of  individual  groups.  Obviously, 
spot  booking  was  the  only  logical  method  of  securing 
films  and  slides. 

(b)  Ordering  of  films  in  our  schools  is  a  continuous 
process — exactly  as  is  the  learning  process  in  relation 
to  any  problem.  Each  month  teachers  are  encouraged 
to  make  out  a  '"Monthly  Classroom  Interest  Inventory" 
blank  to  be  handed  in  with  their  monthly  attendance 
report.  The  blank  calls  for  the  date,  school,  grade, 
present  interests,  tentative  plans,  and  "visual  aids" 
needs. 

By  summarizing  the  "Interest  Inventory"  slips,  it  is 
possible  to  coordinate  the  various  group  needs  and 
thereby  approach  the  film  and  slide  booking  process 
with  the  assurance  that  the  ordered  materials  will  help 
children  with  what  is  then  going  on  in  their  classroom. 

(c)  The  school  people  in  River  Forest  are  becoming 
increasingly  aware  of  the  fact  that  visual  materials  can 
bring  the  vast  world  picture  into  the  classroom — pic- 
tures and  sound  beyond  the  reach  of  field  trips  or  first 
hand  observation.  They  are  becoming  increasingly 
aware  of  the  fact  that  as  an  experience  becomes  more 
realistic  it  becomes  more  understandable.  Vi.sual  Aids 
are  not  looked  upon  as  an  appendage — ^a  decoration  in 
school  life;  they  are  closely  integrated  in  the  mass 
learning  situation  of  a  group  of  children — one  of  the 
needed  ingredients  for  most  adequate  treatment  of 
a  problem. 

(d)  Teachers  in  River  Forest  are  encouraged  to 
consider  the  individuality  of  each  group.  No  two  groups 
react  in  exactly  the  same  manner  and  therefore  no  two 
groups  will  be  expected  to  experience  exactly  the  same 
educational  fare.  With  this  philosophic  background 
one  can  readily  see  the  inadequacy  of  a  "made  in  ad- 
vance" film  and  slide  schedule.  The  booking,  in  reality, 
is  closely  coordinated  with  the  evolving  curriculum  of 
the  individual  groups  in  the  system. 

(e)  It  is  true  that  previous  booking  by  other  parties 
has  in  some  cases  made  it  difficult  to  secure  pertinent 
aids  when  they  were  most  needed.  However,  we  have 
been  able  to  secure  desired  films  or  slides  or  equally 
good  substitutes  by  spot  booking  with  many  different 
source  agencies.  Hundreds  of  private  and  public 
agencies  are  equipped  with  excellent  visual  aids  libraries. 
Depending  on  but  one  source  for  materials  is,  in  many 
cases,  a  narrow  approach  to  the  booking  problem. 

Many  of  the  suburbs  of  Chicago  had  the  excellent 
vision  a  few  years  back  to  form  a  cooperative  non-profit 
film  library  for  use  by  member  school  systems.  The 
service    provided    by    this    "Audio    Visual    Education 


Council"  has  greatly  facilitated  our  booking  technique. 

(f)  We  realize  that  the  spot  booking  technique  com- 
plicates, in  a  measure^  the  work  of  the  visual  aids  li- 
braries. For  instance,  it  is  easier  to  handle  a  single 
request  for  forty  films  than  it  would  be  to  satisfy  forty 
requests  spread  over  the  course  of  the  year.  More 
detail  is  naturally  involved  in  the  latter  procedure. 
However,  it  is  heartening  to  note  the  quality  of  the 
rising  leadership  in  relation  to  film  libraries.  We  can 
look  to  this  leadership  for  a  crystallization  of  the 
methods  in\olvcd  in  an  intelligent  approach  to  film 
booking. 

(g)  We  are  fortunate  in  River  Forest  that  the  edu- 
cational leadership  has  seen  fit  to  have  one  of  the  inter- 
ested faculty  members  devote  half  of  his  time  to  the 
development  of  a  vital  visual  aids  program.  It  is  our 
aim  in  River  Forest  to  help  teachers  with  the  best  in 
visual  materials.  It  is  the  aim  of  the  Coordinator  of 
Instructional  Material  to  keep  in  close  touch  with  the 
latest  research  in  relation  to  materials  of  instruction  and 
with  agencies  which  distribute  materials  that  give  this 
research  meaning  in  the  individual  classrooms.  An 
effective  visual  aids  program  demands  leadership  that 
is  on  the  alert  to  help  in  learning  situations  every  day 
of  the  school  year. 

(h)  If  there  is  a  question  of  a  teacher  being  able 
to  show  a  group  one  film  or  one  set  of  slides  that  is 
educationally  pertinent,  as  opposed  to  having  two  or 
three  films  that  are  scheduled  merely  for  common  con- 
sumption, it  is  hoped  that  teachers  will  make  the  first 
choice.  We  have  strong  substantiation  from  our  staff 
that  it  is  the  intelligent  choice. 

By  coordinating  requests  for  materials,  we  can  often 
secure  visual  aids  that  fit  into  the  work  of  several 
groups  in  our  four  schools.  The  number  of  groups  that 
wish  to  see  a  film  determines  the  length  of  booking 
period. 

The  "Audio  Visual  Education  Council"  has  proven 
an  economical  source  for  Visual  Aids.  As  an  additional 
advantage  each  dollar  which  we  spend  for  rentals  is  an 
investment  in  the  assets  of  the  cooperative  organization. 

(i)  At  present,  each  of  the  River  Forest  Schools  has 
a  silent  film  projector  and  a  slide  projector.  Two  of 
the  schools  have  raised  money  through  P.  T.  A.  organi- 
zations. Mothers'  circles,  school  stores,  and  other  sources 
to  secure  sound  motion  picture  projectors.  The  other 
two  schools  are  served  by  a  sound  projector  provided 
by  the  Board  of  Education.  The  Board  of  Education, 
parents,  administrators,  teachers  and  children  are  co- 
operating in  continual  attempts  to  secure  the  best  equip- 
ment that  will  assist  in  helping  boys  and  girls  to  grow. 

Groups  in  our  midst,  as  a  result  of  our  national  crises, 
are  going  to  question  and  lay  open  for  discussion  every 
phase  of  American  education.  We  who  believe  in  the 
tremendous  possibilities  of  visual  education  and  who 
are  concerned  with  the  problems  involved  in  incorpo- 
rating intelligent  practices  to  the  utilization  of  materials 
will,  in  the  near  future,  be  asked  to  "lay  down  our 
cards."  We  are  going  to  have  to  show  the  people  paying 
the  bills  that  we  have  something  valuable — something 
which  children  need  in  order  to  understand  this  com- 
plicated world.  We  will  also  have  to  show  them  that 
we  are  "getting  the  appropriate  films  or  slides  to  a 
teacher  at  the  appropriate  time." 


March,   194} 


Page   91 


Sing  d  Song  of  Safety 


Describing  the  school  production  of  a 
novel  costume  movie,  using  the  Mother 
Goose  theme  to  convey  its  safety  message. 


ANTOINETTE     LOWRY 

Bexley  Elementary  and  Junior  High  School 

Columbus,  Ohio 

SCHOOLS  teach  safety  in  several  different  ways. 
Sometimes  it  is  tied  up  with  other  subjects. 
Sometimes  it  is  taught  as  a  separate  subject.  No 
matter  what  method  is  used,  there  is  need  for  a  variety 
of  methods  of  teaching  safety  in  order  to  make  it  inter- 
esting and  effective.  As  a  consequence,  we  find  that 
schools  have  developed:  (a)  safety  clubs,  councils,  and 
patrols;  (b)  dramatizations  and  radio;  (c)  graphs  and 
charts;  (d)  assembly  programs;  (e)  demonstrations 
and  models ;  ( f )  rejiorts,  lectures,  and  newspapers : 
(g)  excursions:  (h)  campaigns;  (i)  stories,  poems, 
and  compositions:  (j)  posters  and  pictures;  and  (k) 
movies. 

Stuff  a  song  for  boys  and  girls. 
Mindful  of  their  safety; 
There  woidd  be  no  accidents 
If  they  ivere  not  so  hasty. 

The  writer  had  an  op{)ortunity  to  try  a  novel  nietliod 
of  teaching  safety— that  of  making  a  safety  movie.  This 
motion  picture,  called  Sing  a  Song  of  Safety,  was  made 
in  the  spring  of  1940  by  the  boys  and  giris  of  Bexley 
Elementary  and  Junior  High  School  under  the  direction 
of  the  writer,  assisted  by  other  members  of  the  school 
staff,  and  in  cooperation  with  the  Bureau  of  Educa- 
tional Research  of  the  Ohio  State  University  and  the 
Highway  Education  Board  of  Wa.shington,  D.  C.  This 
film  is  one  of  twelve  which  was  developed  in  the  Ohio 
State  University  Traffic  Safety  film  project  and  was 
made  possible  through  grants  from  the  Highway  Edu- 
cation Board. 

Since  there  were  at  that  tiitie  so  few  safety  films 
available  for  the  elementary  grade  level,  this  film  was 
produced  particularly  for  the  child  from  six  to  fourteen. 
However,  older  children  and  adults  have  learned  valu- 
able safety  precautions  from  the  picture. 

Since  our  Elementary  and  Junior  High  School  are 
in  the  .same  building,  it  was  possible  for  these  two  divi- 
sions to  work  closely  together.  The  students,  teachers, 
and  communit}-  were  aware  of  a  serious  problem  which 
the  children  created  by  their  many  careless  safety  prac- 
tices. In  order  to  determine  which  of  the.se  practices 
were  most  hazardous,  observations  were  made  of  the 
-school  children  going  to  and  from  school  and  elsewhere 
in  the  community  by  school  puj^ils.  teachers,  janitors, 
administrators,  and  the  Department  of  Public  Safety. 
As  a  result  of  these  observations,  the  content  of  the 
scenario  was  determined. 

To  write  a  scenario  which  would  be  interesting  and 
meaningful  to  the  boys  and  girls  of  the  community,  to 
place  emphasis  upon  the  eleinentary  grades,  and  at  the 
.same  time  to  include  the  material  learned  from  the  ob- 
servations, required  a  great  amount  of  planning.  Several 
students  in  the  eighth  grade  who  were  outstanding  in 
story  writing  and  English  composition  began  working  on 
the  safety  story.  Their  ideas,  coupled  with  those  of  other 
students  and  teachers,  were  woven  together  around  a 
Mother  Goose  theme.   Jingles  were  written  illustrating 


safety  practices  and  ijlm  content  was  developed  to  dem- 
onstrate the.se  jingles. 

Sing  a  Song  of  Safety  is  a  silent  16mm.  color  film 
approximately  725  feet  in  length,  80  feet  of  which  are 
titles.  Using  the  Mother  Goose  idea  made  it  necessary 
to  have  characteristic  costumes  which,  of  course,  could 
not  be  effective  except  in  color. 

The  scenario  called  for  a  cast  of  thirty  characters  in 
Mother  Goose  Land  to  be  in  colorful  costumes.  The 
mothers  of  the  children  cooperated  in  inaking  these 
costumes.  In  addition  to  the  cast,  there  were  mass 
scenes  including  approximately  forty  bicyclists  and 
about  the  same  nmnber  of  pedestrians.  Other  partici- 
pants were  members  of  the  school  and  community 
Health  and  Safety  Departments.  In  making  this  film 
it  was  necessar\-  to  have  many  assistants  behind  the 
scenes  such  as :  the  photographer  handling  the  cameras 
and  tripods ;  someone  to  take  exposure  readings ;  an 
announcer  to  keep  individuals  posted  as  to  when  they 
are  due  for  their  scenes ;  the  dramatic  directors ;  and 
responsible  people  to  watch  the  traffic. 

In  order  that  all  rooms  nu'giit  .share  in  the  planning 
and  the  production  of  the  picture,  each  grade  room  con- 
tributed two  or  three  characters.  To  give  more  pupils 
an  opportunity  for  participation  and  to  become  safety 
conscious,  .seventy-si.x  sixth  grade  children  and  about 
fifty  seventh  grade  boys  and  girls  from  the  health 
education  classes  composed  the  titles.  Each  title  was 
illustrated  by  the  Art  Department  of  the  school.  Alto- 
gether there  were  at  least  two  hundred  and  fifty  people 


A  "faked"  accident  to  show  the  resuhs  of  carelessness. 


Page  92 


The  Educational  Screen 


Sin^  a  Son^ 
of  Safei 


Little  Bo-Peep  ran  into  the  street, 

^fter  her  bouncing  ball; 

first  looking  to  the  left  and  then 

to  the  right; 
Such  care  should  be  tried      „ 

by  all.     y    X  "=^\lr^ 


-MancyMoore- 


Old  Mother  Goose 
Watched  her  children  come  to  school; 

She  really  had  to, 
For  not  all  observed  the  traPFic 

rules. 

-Dorothy 
Zieqfeld- 


Humpty  Dumpty  rode  on  his  bike. 
He  wobbled  and  jiggled  Prom  lePt  to  right; 
And  now  Humpty  Dumpty,  due  to  his  (bll, 
Has  got  the  whole  neighborhood 
hearing  him  bawl. 


-Ellen  Byer-    *  ^  /* 


Mary  has  a  brand  new  bike, 
As  blue  as  blue  can  be; 
Mary  Is  just  a  little  tyke, 
But  she  rides  carePully. 

-Ruth 
Freundlich- 


Left — A  few  samples  of  the  titles  and 
drawings  made  by  the  Art  Department. 


who  assisted  either  directh'  or  indirectly  in  the  making 
of  the  movie.  This  number  does  not  include  the  parents 
and  a  few  others  who  iielped  in  various  ways.  Tlie 
social  significance  of  these  figures  is  clear.  It  means 
that  a  large  number  of  boys  and  girls,  parents,  teachers, 
and  officials  of  the  community  were  focusing  their 
attention,  with  responsibility,  on  a  project  which  was 
of  real  importance  in  their  community. 

The  sixth  and  seventh  grade  health  education  classes 
which  composed  the  titles  made  some  efTective  con- 
tributions indicating  that  they  were  giving  much  thought 
on  various  practices  on  street  safety.  ]n  the  first  place, 
they  were  given  the  key  idea  which  the  characters  of 
Mother  Goose  were  to  portray  in  the  movie.  The  idea 
was  to  be  put  in  a  jingle  following  the  same  general 
rhythm  as  the  typical  jingles  of  Mother  Goose.  A  pupil 
was  permitted  to  write  as  many  jingles  as  he  wished 
and  the  best  jingles  were  to  be  chosen  for  the  movie 
retaining  the  name  of  the  composer  in  the  actual  title. 
Pupils  of  these  two  classes  helped  in  choosing  the  Ijest 
titles,  but  the  final  sifting  was  done  by  the  teachers. 

The  pictures  were  photographed  by  the  writer.  Sev- 
eral Junior  High  .school  boys  aided  in  the  handling  of 
equipment  and  keeping  of  records.  Since  the  scenario 
called  for  all  out-of-door  scenes  except  one.  the  work 
was  facilitated  from  the  photographer's  angle.  In  the 
one  indoor  .scene,  I  was  able  to  use  lights  and  reflectors 
from  the  Visual  lulucaticjn  Department  of  the  Ohio 
State  University.  Practically  all  the  outdoor  scenes 
were  shot  between  10  A.  M.  and  3  P.  M.  Even  though 
we  chose  the  best  time  of  day  to  photograjih,  we  con- 
stantly met  the  problems  of  rain,  cloudy  weather,  and 
changing  intensities  of  sunlight.  This  meant  recheck- 
ing  the  exposure  meter  in  many  instances. 

In  a  film  of  this  kind,  there  is  a  tendencj'  to  include 
too  much  at  right  angles  to  the  lens  axis  rather  than 
diagonally  through  the  field  of  view.  We  set  up  the 
tripod  and  camera  whenever  possible  so  that  partici- 
pants of  the  action  did  not  pass  the  camera  at  right 
angles. 

After  the  film  had  been  proces.sed  the  next  job  was 
to  cut  and  splice  it  in  proper  sequence.  This  is  meticu- 
lous work  from  several  standpoints.  In  the  first  place, 
one  must  not  allow  a  film  story  to  drag  by  leaving  too 
much  footage  in  a  certain  action.  We  often  have  a  tend- 
ency to  do  this  because  of  interesting  incidents  and 
sentiments  connected  with  the  characters  or  photog- 
raphy. Equally  bad,  is  that  of  cutting  too  much  film 
so  that  the  action  will  not  clearly  tell  the  story.  Perhaps 
the  latter  occurs  because  the  photogra])her  has  the 
scenario  so  well  in  mind  that  he  can  cut  scenes  quite 
drastically  and  still  follow  the  continuity  in  his  own 
thought.  Lastly,  certain  actions  call  for  a  quick  cut  and 
almost  flash  scenes  to  portray  the  idea.  Using  an  ex- 
ample of  a  suggested  accident  in  Sing  a  Song  of  Sajcty. 
we  see  first  a  long  shot  of  a  car  coming  rapidly,  next 
"Mary,  Mary  Quite  Contrary"  dashing  into  the  street 
without  looking,  then  a  flash  of  the  car  almost  upon 
her.  Here  we  cut  to  a  close  up  of  Mary  lying  motion- 
less before  the  front  wheel.  All  of  these  conditions  must 


March,   1943 


Page  93 


be  considered  seriously  for  the  finished  picture  must 
tell  the  story  to  one  who  knows  nothing  about  the 
scenario. 

What  is  the  evidence,  if  any,  of  the  value  of  this 
project?     Was  it  worthwhile? 

The  youngsters  who  participated  in  making  the  movie 
provided  some  interesting  data  on  this  point.  Five 
months  after  the  completion  of  the  film  this  idea  came 
from  a  young  lad  in  response  to  a  question  his  teacher 
asked  of  a  grou]i  in  ])reparation  for  a  picnic  trip  on 
bicycles,  "Yes,  I  know  how  we  should  ride  our  bikes. 
Last  year  when  we  made  our  safety  movie  we  learned 
how  to  ride  jM-operly  and  how  to  avoid  accidents." 
Following  this  remark  another  youngster  .said.  "I  know 
too.  because  my  teacher  allowed  our  room  to  stand  at 
the  window  and  watch  some  of  the  other  kids  riding 
their  bikes  and  crossing  the  street  while  certain  scenes 
were  photographed  for  the  .safety  film.  T  remember 
how  safely  Mar\'  oi  Mother  Cjoose's  family  rode  her 
1)ike.  She  kept  .so  close  to  the  curb  on  the  right  side 
1)1  the  street  that  cars  could  easily  pass  in  the  street 
without  getting  near  her.  And  Simple  Simon — don't  you 
remember  how  carelessly  he  rode  and  what  a  smart  aleck 
he  was?  Mother  Goose  certainly  scolded  him  and  he 
deserved  it." 

Many  pupils  remarked  that  they  learned  more  about 
riding  bicycles  properly  during  the  making  of  the 
movie  on  safety  than  they  ever  learned  from  their  dis- 
cussions in  the  classroom.  "Somehow,  we  can  re- 
member better  when  we  actually  do  these  things  our- 
selves," remarked  youngsters.  These  comments  are  only 
a  few  of  many  which  came  from  the  grou])  of  children 
who  participated  in  the  making  of  Sing  a  Song  oj 
Safely.  All  of  them  indicated  ])ositive  attitudes  toward 
safety.  The  children  received  first  hand  knowledge 
regarding  traffic  safety  and  experienced  realistic  appli- 
cation of  this  information.  .As  a  result  the  proper  use 
of  traffic  rules  .seemed  to  become  more  permanently 
fixed  in  their  minds  and  influenced  their  behavior  ac- 
cordingly. 

We  must  not  forget  that  a  close  relationship  between 
the  community  and  the  school,  and  the  parents  and  the 
school  is  desirable.  This  was  especially  true  in  the 
making  of  the  movie.  The  community  safety  depart- 
ment was  always  on  hand  if  we  wished  to  shoot  scenes 
on  heavily  traveled  streets.  It  aided  also  in  getting 
us  some  equij^ment  which  we  needed  such  as  a  badly 
damaged  bicycle.  Parents  were  eager  to  furnish  trans- 
])ortation  and  food  for  a  Saturday's  trip  to  the  Zoo 
which  was  included  in  the  scenario.  Teachers  cooi^erated 
by  excusing  pupils  from  their  rooms  in  time  for  certain 
scenes.  Such  cooperation  is  bound  to  develop  closer 
imity  between  the  school  and  community. 

.Another  source  of  evidence  concerning  value  conies 
from  those  who  only  saw  the  movie  but  did  not  partici- 
l)ate  in  its  production.  Here  are  comments  from  such 
])upils: 

"I  think  that  the  film  helps  children  to  see  what  happens 
when  they  are  careless  in  the  street.  We  hear  about  many 
people  getting  hurt  in  the  street  but  we  never  actually  see  the 
accidents  happen.  Seeing  an  accident  as  we  saw  in  the  movie 
will  make  us  more  careful." 

"I  thought  the  movie  was  worthwhile  because  it  taught  me 
many  different  lessons  that  I  did  not  know  before.  I  also  en- 
joyed the  picture  because  it  was  made  up  of  children  of  my  size." 


"I  enjoyed  the  movie  very  much  and  know  I'll  never  try  to 
break  the  safety  rules.  Maybe  now  some  children  who  are  not 
careful  have  learned  a  lesson." 

"I  enjoyed  the  movie  because  it  had  fun  in  it  and  still  taught 
important  lessons." 

"I  think  this  safety  movie  is  the  best  way  to  impress  trathc 
rules  on  children.  It  was  not  only  helpful  in  recalling  our  rules 
as  pedestrians,  drivers,  and  bicyclists,  but  it  was  also  interesting 
and  amusing.  Rules  that  I  had  forgotten  are  now  clear  in  my 
mind,  and  the  ones  I  didn't  know  I  learned  while  looking  at  the 
picture.  It  is  unfortunate  that  we  have  so  few  opportunities  to 
see  such  a  picture." 

"The  movie  brought  to  my  mind  the  many  times  I  have  to 
cross  Summit  Street  which  is  a  very  busy  street.  The  nursery 
rhymes  were  very  nice  and  the  children  were  beautifully  dressed. 
This  movie  should  leave  a  deep  impression  in  children's  minds 
and  may  even  go  so  far  as  saving  some  child's  life." 

"I  think  the  movie  was  very  interesting  and  educational.  I 
was  particularly  impressed  by  'Tom,  Tom  the  Piper's  son.'  It 
should  be  a  lesson  to  men  who  drive  carelessly.  I  did  not  know 
that  one  should  put  out  his  band  when  making  a  left  turn  on 
his  bicycle." 

"  'Tom,  Tom  the  Piper's  son'  reminded  me  of  all  the  times  I 
have  crossed  streets  and  did  not  look  before  I  crossed  but  from 
now  on,  I  will  always  stop  and  look.  When  I  am  turning  a 
corner  on  my  bike,  I  will  always  put  out  my  arm  to  let  people 
behind  me  know  that  I  am  going  to  turn." 

Two  children  were  so  stimulated  by  the  movie  that  they 
started  writing  a  playlet  on  safety. 

In  conclusion,  the  writer's  summary  of  the  reactions 
of  children  who  either  saw  a  showing  of  the  movie. 
Sing  a  Song  of  Safety,  or  participated  in  its  making 
have  these  significant  values : 

1.  The  proper  u.se  of  traffic  rules  seems  to  become 
more  permanently  fixed  in  their  minds  and  influence 
their  behavior  accordingly. 

2.  It  makes  children  more  "safety"  conscious  not 
only  of  their  own  safety  but  that  of  others. 

3.  Develops  a  closer  unity  between  school  and  com- 
munity. 

4.  Children  not  only  find  this  method  of  developing 
safety  habits  an  impressive  one  but  also  very  interesting. 

The  Wartime  Use  of  Films  in  Canada 

(Concluded  from  page  iS8) 

tributed  to  local  committees  in  charge  of  the  showings. 
The  local  committee  in  each  place  provides  a  hall  and 
the  Government  j^rovides  the  films  and  the  operator. 
Efforts  have  been  made  to  turn  these  showings  into 
forums,  and  in  many  communities  campaigns  in  line 
with  the  country's  war  program  have  been  developed 
following  film  .showings. 

The  film  circuits  are  administered  by  an  employee  of 
the  National  Film  Board  who  works  through  agents 
employed  by  university  e.xten.sion  divisions,  depart- 
ments of  education,  and  other  organizations.  I'^inancial 
support  at  first  came  for  the  most  part  from  the  Do- 
minion Government,  but  recently  a  number  of  industrial 
and  educational  organizations  in  the  country  have  been 
offering  substantial  assistance. 

The  channels  of  distribution  which  have  been  built 
up  in  Canada  are  used  to  keep  a  steady  flow  of  vital 
information  on  the  war  flowing  to  the  citizenry.  In 
Canada,  as  in  the  United  .States,  films  are  being  u.sed 
to  prepare  the  minds  and  hearts  of  the  peo])le  to  win 
the  war  and  write  the  peace.  They  are  preparing  peojjle 
to  think  in  terms  of  the  future  and  of  a  better  inter- 
national era. 


Page  54 


MOTION  PICTURES- 
NOT  FOR  THEATRES 


The  Educational  Screen 

Part  45. — Our  history  continues  to  show 
that  schools  and  churches  have  had  their 
film  supply  problems  ior  a  long,  long  time 

By    ARTHUR    EDWIN    KROWS 


The  Proper  Audience 

A  PROJECT  late  in  January,  1927, 
for  the  leading  boys'  school  in 
Great  Britain  and  the  United 
States  to  exchange  films  showing  their 
institutional  life,  was  symptomatic  of  an 
important  realization.  It  was  not  suffi- 
cient to  supply  a  film  with  any  audience; 
it  was  necessary  to  have  a  proper  audi- 
ence. For  national  advertisers,  per- 
haps, where  the  main  interest  was  in 
mass  sales,  it  might  not  especially 
matter  what  cross-section  of  the  pub- 
lic attended  one  show  in  a  thousand. 
And  yet,  even  among  these  earnest 
calculating  bidders  for  attention,  it 
could  scarcely  be  advantageous,  in 
exploiting  an  unproved  patent  medicine, 
to  show  the  related  advertising  film  to 
a  gathering  of  doctors,  for  instance, 
any  more  than  there  could  be  com- 
mercial point  in  teaching  the  fellaheen 
in  the  Valley  of  the  Nile  how  to  grow 
Iceland  Poppies. 

Among  the  national  advertisers,  in- 
deed, there  is  an  occasional  sentiment 
to  the  effect  that,  in  telling  their 
stories  to  children  in  elementary 
schools,  they  have  nothing  to  gain  but 
a  mild  good  will.  The  youngsters  there 
will  be  too  long  growing  to  that  stage 
where  they  can  buy  commodities  on 
their  own  initiative,  and  at  that  time, 
anyway,  with  material  progress  so 
headlong  in  its  advance,  the  present 
products  will  all  be  obsolete. 

The  many  obvious  advantages  of 
having  audiences  which  are  predisposed 
to  attention  has  naturally  developed 
specialist  distributors  as  it  has  made 
specialist  producers.  Among  the  other 
welcome  advantages  presented  by  a 
"class"  market,  the  body  of  it  may  be 
measured.  Its  probable  return  is  ap- 
preciable, and,  in  consequence,  the  dis- 
tribution business  designed  for  its 
service  may  be  better  organized  to 
survive,  certainly  better  than  one 
which  aims  loosely  to  serve  all  non- 
theatrical  comers.  There  is  mass  to 
it,  although,  with  a  prevailing  rental 
rate  so  low,  this  means  only  that,  for 
the  development  of  a  self-sustaining 
library,  the  volume  of  business  must 
be  large.  There  must  be  a  great  many 
paying  customers  before  the  large 
number  of  small  sales  will  provide  a 
sufficient  income.  Answers  to  these 
requirements  are  easiest  to  be  seen  in 
church  and  school  distribution,  and 
here,  therefore,  are  to  be  found  most 
of  the  specialist  non-theatrical  distri- 
butors. 

That  the  schools  of  America  present 
a  rich  undeveloped  market,  with  all 
features  which  any  specialist  distribu- 
tor might  desire,  is  one  of  those  sup- 
posed facts  which  are  accepted  at  face 
value  by  even  cautious  business  men. 
It  is  probably  true;  at  the  same  time 


there  are  tremendous  obstacles — so 
great  that  they  have  occasioned  a 
strong  conviction  that  it  is  really 
just  one  more  snare  and  delu- 
sion. At  least,  that  opinion  emerges 
from  the  accumulated  experience  of 
hundreds  of  disillusioned  salesmen 
who  have  tried  to  dispose  of  films  to 
the  schools  and  have  retired  in  despair. 
They  came  to  the  work  from  the  hard, 
uncompromising  grind  of  selling  office 
or  household  appliances,  or  books,  per- 
haps, and  are  delighted  when,  instead 
of  having  doors  slammed  in  their  faces, 
they   are   invited    in    by   kindly    school 


Ilsley  Boone,  true  pioneer  in  uses 
of  school  films,  believed  in  follow- 
ing the  Biblical  injunction  that  "the 
laborer  is  worthy  of  his  hire."  A 
startling    idea    for    the    customers. 

superintendents  to  discourse  pleas- 
antly on  the  facts  of  visual  instruction. 
Again  they  call;  again  they  are  cor- 
dially received.  Such  courtesy  is  un- 
believable. Yet  the  friendly  visits  go 
on  day  after  day,  week  after  week.  In 
fact,  that  is  the  trouble  with  them; 
they  just  go  on.  There  are  no  sales 
or,  in  all  events,  not  nearly  enough  to 
justify   a   business. 

How  can  such  things  be?  Here, 
surely,  is  a  market  which  may  be 
measured.  The  teaching  usefulness  of 
motion  pictures  has  been  firmly  estab- 
lished these  many  years,  and  there  are 
repeated  and  continuing  tests  to  con- 
firm the  fact.  We  know  that  there  are 
certain  courses  in  which  they  are  more 
useful  than  in  others;  how  long,  ap- 
proximately, exhibitions  should  run; 
their  main  objectives;  what  equipment 
standards  should  be,  and  much  more 
of  importance,  all  in  their  favor.    Stu- 


dent teachers  in  almost  every  reputable 
normal  school  are  given  the  prevail- 
ing, favorable  bias  toward  classroom 
films.  Among  teachers  in  service,  and 
concertedly  at  their  conventions,  they 
acclaim  the  merits  of  visual  education, 
especially  motion  pictures.  If  the  ob- 
stacle to  the  actual  use  of  classroom 
reels  is  a  lack  of  money  for  film  sub- 
jects which  cost  a  great  deal,  as  super- 
ficial examination  indicates,  why  is 
there  any  difficulty  about  those  reedited 
theatrical  subjects  which  may  serve,  at 
a  mere  dollar  or  two  rental  per  reel 
per  day,  in  geography,  natural  science, 
civics  and  vocational  guidance,  for  in- 
stance? In  these  particulars,  at  least, 
there  seems  to  be  a  receptive  market, 
useful  films  and  a  practicable  form  of 
distribution.     What   is   the   trouble? 

It  is — to  be  brutally  frank — in  the 
form  of  our  local  public  school  system 
which  I,  for  one,  would  be  loath  to 
change  because  I — surely  not  I,  as  a 
layman — cannot  think  of  a  better  .sort. 
Each  school  system  stands  separately. 
Fred  Wythe,  with  his  customary  pene- 
tration, calls  it  the  most  truly  inde- 
pendent form  of  government  left  in 
America.  No  matter  what  teacher 
training  institutions  may  say  in  favor 
of  films— regardless  of  the  happy  find- 
ings of  the  N.E..^..  irrespective  of  the 
recommendations  by  experts  after 
regional  tests — each  individual  board 
of  school  trustees  must  be  separately 
persuaded,  and,  being  persuaded,  must 
be  made  to  see  also,  as  a  rule,  that  its 
members  can  afford  films  before  they 
can  afford  needed  playground  equip- 
ment, or,  shall  we  say.  coal  for  the 
coming  winter,  or,  what  is  commonest, 
an  urgent  rise  in  teachers'  salaries.  It 
is  that  kind  of  problem.  I  believe  that 
there  are  some  250,000  public  school 
buildings  in  the  United  States.  I  have 
no  convenient  figures  on  the  number 
of  systems.  But  it  is  probable  that 
there  are  quite  enough  of  them  to  con- 
stitute an  appalling  selling  job  for  any 
enterprise  which  expects  to  prosper 
by  monopolizing  the  business  of  sup- 
plying film  to  the  nation's  educational 
institutions. 

William  Fox,  is  accredited  with  hav- 
ing instigated  one  of  the  most  sensa- 
tional efforts  to  force  this  market  when, 
just  before  the  revolution  wrought  by 
talking  pictures,  he  launched  his  elabo- 
rate program  of  educational  films.  He 
is  said  to  have  brought  pressure  to 
bear,  through  expert  lobbyists,  to  in- 
duce the  Ohio  State  Board  of  Educa- 
tion to  make  the  use  of  classroom 
films  compulsory  in  all  schools  in  that 
area.  The  general  aim  was  surely  ac- 
ceptable to  the  State  Superintendent  who. 
in  common  with  most  other  progressive 
educators,  was  an  avowed  proponent  of 
visual    instruction.      At    all    events,    he 


March,  1943 


Page  95 


seems  to  have  issued  a  directive,  ordering 
three  hours  of  visual  instruction  per  week 
in  each  school  system  under  his  juris- 
diction. Failure  to  observe  it  would  mean 
loss  of  pedagogical  standing,  or  that  in- 
volved teachers  seeking  change  of  situa- 
tion would  be  ol)liged  to  re-undergo  their 
license  examinations.  However,  the  di- 
rective was  not  a  law. 

The  result  appears  to  have  been  that 
tlicre  was  a  temporary  boom  in  projector 
sales,  exhausting  many  slender  local 
"visual"  appropriations  and  leading  u.sers 
there  to  the  employment  of  "free"  films 
rather  than  rented  ones  more  specifically 
pedagogical.  In  city  schools,  where  inter- 
pretations of  State  directives  were  pretty 
much  matters  for  their  own  choice,  there 
seems  to  have  been  little  cliange  from 
their  earlier  course ;  and  generally  the 
rural  schools,  unable  to  afford  or 
obtain  suitable  reels,  used  whatever 
they  could  get.  This  anomalous,  whol- 
ly unexpected  state  of  affairs  caused 
an  abandonment  of  the  plan  and  a  very 
definite  setback  to  the  cause  of  visual 
education  in  Ohio,  where  visual  educa- 
tion had  been  so  auspiciously  encour- 
aged at  the  start  of  the  movement. 
However,  as  earlier  described,  the 
Ohio  situation  found  a  handsome  read- 
justment through  allocation  of  fees 
for  the  theatrical  censorship.  The  present 
cooperation  of  superintendents  in  county, 
metropolitan,  and  "exempted"  ullage 
schools  joins  to  make  Ohio  a  ranking 
American  State  in  actual,  practical  use 
of  visual  aids. 

Thomas  A.  Edison,  who  surely  was 
aware  of  some  of  the  difficulties,  be- 
lieved that  the  problem  could  be  solved 
if  the  Government  would  take  it  over. 
A  great  force  for  education,  such  as  the 
screen  indubitably  was,  in  his  opinion 
was  too  vital  to  the  national  welfare 
for  the  development  of  this  phase  of  it 
to  be  left  to  private  initiative,  especi- 
ally as  private  initiative  had  proved  so 
capricious  and  ineffective.  "A  great 
film  library  of  educational  and  indus- 
trial subjects  should  be  built  up  in 
Washington,"  Edison  said  in  an  inter- 
view published  by  the  Educational  Film 
Magazine  in  January,  1919.  "Then 
these  films  could  be  issued  on  the  rental 
system  to  all  institutions  in  the  United 
States,  even  to  the  most  remote 
schoolhouse,  and  the  system  could  be 
so  operated  that  it  would  pay  its  own 
way.  would  be  on  a  self-supporting 
basis  like  the  Pension  Office  or  the 
Tost  Office." 

I  have  always  thought  of  the  Pen- 
sion Office  as  being  quite  the  reverse 
of  self-supporting,  but  that  is  beside 
the  point  which  I  am  about  to  make. 
A  neces.sary  service  should  be  operated 
even  at  a  deficit.  From  time  to  time 
that  has  been  properly  true  of  our  in- 
dispensable Post  Office.  And.  since 
Edison's  time,  the  U.  S.  Government 
has  laid  plans,  under  Dr.  William 
Zook,  for  a  large-scale  development 
of  school  films,  although  that  is  a  proj- 
ect so  recent  as  1936  and  therefore 
rather  close  to  be  judged  on  its  merits. 
What  we  roii  sec  and  judge  on  their 
merits,  however,  are  the  continuing 
private  efforts  at  supply  which,  if  not 


Since  Dr.  Leipziger's  pioneer  days 
the  capable  Rita  Hochheimer  has  run 
the  New  York  schools  film  service. 

wholly  satisfactory,  have  uncovered 
weaknesses  and  set  useful  precedents. 

The  chief  objection  of  the  school- 
men, themselves,  to  private  efforts,  has 
always  been  not  that  efficient  service 
might  not  be  rendered  by  such  hands, 
but  that  education  should  always  be 
kept  free  from  commercial  taint.  This 
is  all  very  well,  but  I  may  venture  the 
tliought  that  education  probably  has 
more  to  fear  from  politics  than  from 
commerce,  which,  in  America  anyway, 
is  steadily  raising  its  ethical  standards. 
I  feel,  too,  that  the  educational  sys- 
tem will  always  be  stronger  for  paying 
directly  for  its  equipment  instead  of 
receiving  it  thanklessly  as  an  indefin- 
able boon  from  heaven,  as  they  would 
if  the  national  Government  supplied  it. 
Man  receives  his  immortal  soul  from 
heaven,  and  just  see  how  little  he  ap- 
preciates that  gift  from  a  source  which 
he  is  unable  to  see  or  comprehend. 

Edison's  idea,  advanced  by  others 
before  him  and  to  a  degree  put  into 
practise  abroad,  was  actually  urging 
the  advantages  of  mass  handling. 
There  is  much  critical  sensitiveness  on 
that  subject,  for  mass  handling  is  none 
other  than  block  booking.  It  is  block 
booking  when  you  subscribe  a  year  in 
advance  for  a  popular  magazine.  We 
have  heard  loud  outcries  about  how 
unjust  it  is  to  expect  a  theatrical  ex- 
hibitor to  contract  for  a  set  of  feature 
photoplays,  ranging  from  thirteen  to 
104,  sight  unseen  and  quality  merely 
presumed.  But,  with  all  of  the  possible 
evils  of  that  system,  its  sheer  weight 
of  merit  has  proved  it  to  be  an  im- 
portant factor  in  the  business  stabili- 
zation of  a  great  industry,  and  in  mak- 
ing possible  also  much  of  its  techno- 
logical and  artistic  improvement.  I 
heartily  concur  in  the  view,  if  I  under- 
stand it  aright,  that  a  reasonable 
amount  of  block  booking,  not  in 
schools  alone  but  in  the  non-theatrical 
field  generally,  will  be  of  benefit  to  all. 


Theatrical  block  booking,  now  ended 
by  government  action,  was  given  its 
clean  bill  of  health  following  the  is- 
suance of  an  order  by  the  Federal 
Trade  Commission  calling  upon  Para- 
mount (Famous  Players-Lasky),  to 
desist  from  the  practice.  In  April,  1932, 
after  long  investigation  of  the  facts, 
the  U.  S.  Circuit  Court  of  Appeals 
denied  the  order,  and  held  that  there 
is  no  coercion  or  intimidation  in  the 
practice  of  distributors  when  they  offer 
exhibitors  the  alternative  of  booking 
in  block  or  taking  less  than  a  block 
at  higher  prices.  I  urge  those  who 
have  lingering  doubts  on  the  subject 
to  read  the  published  opinion  of  that 
court  in  full  as  rendered.  The  explana- 
tion  is  exceptionally  clear. 

It  was  a  kind  of  block  booking  which 
the  engineering  extension  department 
of  the  Iowa  State  College  of  Agricul- 
ture recommended  in  its  visual  educa- 
tion bulletin  in  April,  1915,  when  it 
offered  to  supply  each  school  consent- 
ing to  provide  proper  equipment,  by 
October  1,  1915,  with  at  least  twelve 
coni|)lete  programs,  of  not  less  than 
two  reels  each,  during  the  school  year. 
It  was  a  kind  of  block  booking  which 
was  contracted  for  by  the  New  York 
City  public  schools  about  1922,  when 
Ilslcy  Boone  and  his  Argonaut  Pic- 
tures arranged  to  supply  classroom 
films  on  various  subjects.  Argonaut 
held  that  contract  for  nearly  a  decade. 
What  happened  to  it  deserves  a  digres- 
sion to  tell  the  very  interesting  story. 
Dr.  E.  E.  Crandall,  director  of  visual 
education  for  the  New  York  School 
System,  had  closed  the  original  con- 
tract. He  had  won  considerable  dis- 
tinction as  a  pioneer,  himself.  But,  in 
January.  1932,  Crandall  retired  be- 
cause of  illness,  and  Dr.  Eugene  A. 
Colligan,  his  superior  officer  who 
took  over  Crandall's  duties  in  addition 
to  his  own,  could  see  no  good  reason 
for   continuing   the   arrangement. 

Even  the  name  of  the  office  was 
changed.  It  was  now  called  the  Bureau 
of  Lectures  and  Visual  Instruction. 
That  made  no  difference,  though,  to 
Miss  Rita  Hochheimer;  that  faithful 
servant  continued  as  before,  destined 
to  outlast  them  all.  For  approximately 
a  year  a  survey  and  an  inventory  of 
the  New  York  film  system  had  been 
going  on.  Dr.  Colligan  shook  his  head 
disapprovingly  upon  noticing  that  Ar- 
gonaut had  been  allotted  five  dollars 
per  reel  per  day,  and  that  a  projection- 
ist was  paid  $1.75  to  two  dollars  per 
screening.  .About  240  of  the  750  city 
schools  received  regular  service,  and 
the  annual  bill  for  rentals  amounted 
to  approximately  $40,000,  with  $10,000 
more  for  appliances.  The  life  of  a 
reel,  until  it  had  to  be  replaced,  was 
estimated  to  be  from  200  to  500  show- 
ings. Dr.  Colligan  believed  that  the 
Bureau  could  assemble  its  own  sub- 
jects, store  and  repair  its  own  films 
and  employ  its  own  operators  much 
more  economically.  He  had  been  es- 
pecially convinced  of  this  by  a  study 
of  the  visual  instruction  service  main- 
tained by  the  American  Museum  of 
Natural    History    which    also    heavily 


Page  96 


The  Educational  Screen 


served  the  New  York  City  schools. 

Boone,  rebuffed  but  not  discouraged, 
told  me  of  plans  he  had  for  building  a 
laboratory  and  studio  near  his  home  in 
Oakland,  New  Jersey,  for  the  pro- 
duction of  school  films.  The  project 
materialized  to  an  extent,  and  then  all 
at  once  Boone  flared  into  the  news  in 
an  extraordinary  way.  He  appeared 
as  an  American  champion  of  that  dis- 
concerting new  health  cult  which  had 
reached  the  United  States  chiefly  from 
Europe.  He  was  a  nudist.  He  ad- 
vocated nudism,  organized  nudist 
camps  in  New  England,  edited  a 
nudist  magazine  and  posed  in  his  birth- 
day suit  typewriting  an  article  on  the 
subject.  When  Ilsley  had  a  conviction 
he  followed  it  through.  Protests 
naturally  arose  in  the  Ponds  Reformed 
Church  of  Oakland,  where  he  was  re- 
serve pastor,  and  he  was  asked  to  re- 
sign. The  consistory  at  first  declined 
to  accept  the  truculent  form  of  his 
resignation,  but  ultimately  yielded.  At 
this  writing  Boone  is  still  a  nudist 
leader,  executive  secretary  of  the 
American  Sunbathing  Association  at 
Mays  Landing,  New  Jersey,  and  his 
bitterest  detractors  must  confess  that 
he  has  maintained  his  dignity  with 
greater  success  than  one  would  have 
believed  possible  in  any  situation  thus 
reduced   to   its   barest  facts. 

More  on  the  Church  Supply 

The  public  received  its  first  inkling 
of  one  of  the  earliest  important  at- 
tempts to  organize  the  distribution  of 
religious  films  in  October,  1922,  when 
the  Christian  Herald  appeared  with  an 
article  asking  an  audience  for  proving 
the  relationship  of  motion  pictures  to 
the  church.  In  November  it  was  learned 
that  the  magazine  was  forming  a  com- 
pany "to  meet  the  abuses  of  the  motion 
picture  industry."  A  library  of  diver- 
sified films  had  been  selected,  it  was 
.said,  and  additions  were  being  made. 
A  few  months  later,  in  April,  1923. 
Graham  C.  Patterson,  publisher  of  the 
Christian  Herald,  formally  announced 
the  organization  in  New  York  City 
of  the  Herald  Non-Theatrical  Pictures. 
Inc.  Its  plan,  sponsored  by  the  Chris- 
tian Herald  Company,  was  stated  as 
to  supply  "wholesome  pictures  for  all 
the  family"  through  branch  offices  in 
twenty-five  cities,  to  centers  outside 
the  theatres. 

It  was  to  be  strictly  non-sectarian, 
and  Patterson  said  emphatically  that 
the  enterprise  had  no  connection  with 
any  other  film  concern  of  any  sort,  and 
had  not  agreed  to  supervision  by  any 
dictator,  supervisor  or  boss — which 
may  or  may  not  have  been  a  dig  at 
the  lately  instituted  Will  Hays  Com- 
mittee. Hays,  doubtless,  in  accordance 
with  his  now  familiar  practice,  had 
promptly  proffered  the  assistance  of 
the  M.P.P.D.A.  Patterson  did  claim, 
however,  that  his  project  had  received 
the  endorsements  of  parent-teacher 
organizations,  community,  church  and 
educational  movements. 

A  year  or  two  later,  a  few  regional 
libraries  were  still  advertising  "Herald 
Pictures,"  but  the  effort,  on  the  whole, 


was  apparently  not  appreciated  by 
those  on  whose  behalf  it  was  made, 
and  Patterson  sensibly  decided  to  end 
it.  As  far  as  it  went  it  was  a  con- 
structive experiment,  but  Patterson 
made  the  mistake,  it  seems,  of  expect- 
ing the  churches  to  pay  adequately  for 
the  service,  just  as  so  many  others 
have  taken  for  granted  the  united  pur- 
chasing power  of  the  schools. 

Graham  Patterson  was  a  busy  man,  with 
manifold  interests  in  other  directions,  a 
large  proportion  of  them  in  aspects  of 
social  service  undeniably  of  greater  im- 
portance than  non-theatrical  pictures.  The 
Christian  Herald  experiment  dismissed, 
he  went  on  to  other  activities,  becoming 
so  immersed  in  them  that  the  earlier 
adventure  became  a  memory  in  outlines 
only.  In  December,  1942,  when  I  asked 
him  to  supplement  my  own  recollection  and 
research,  he  was  publisher  of  the  Farm 
Journal,  a  periodical  with  more  than  two 


Graham  Patterson  was  like  the  nur- 
sery-tale man  who  sprang  into  the 
bramble  bush.  He  jumped  into  non- 
theatricals  and,  seeing  what  hap- 
pened, he  jumped  right  out  again. 

and  one-half  million  circulation,  issued 
from  Philadelphia.  It  took  time  from  his 
immediate  duties  to  refresh  his  memory 
concerning  that  enterprise  of  twenty  years 
before.    Then  he  wrote  me  as  follows : 

"I  would  certainly  say  that  this 
operation  was  not  started  in  antasr- 
onism  to  the  movies,  but  in  cooper- 
ation with  them.  My  own  feeling 
was  that  those  in  the  Motion  Pic- 
ture Industry  were  honestly  striv- 
ing to  improve  the  character  and 
moral  tone  of  their  entertainment. 
Their  selection  of  Mr.  Will  Hays 
was  a  good  one,  and  I  had  his  ac- 
tive support  in  the  move  that  I  was 
making  to  enlist  tlie  interest  of 
church  people  in  the  better  class  of 
movie  entertainment.  It  ^vas  rec- 
ognized that  many  of  them  -were 
opposed  to  movies  "as  such,'  just  as 
they  were  opposed  to  cards  and 
dancing,  rather  than  to  the  abuse. 
It  is  quite  possible,  although  I  do 
not  remember  the  sales  material, 
tliat  we  tried  to  obtain  the  coopera- 
tion of  churches  everywhere  on 
the  basis  of  competing  with  the 
movies,  although  we  did  emphasize 
the  religious  films,  one  of  which — 
'Joseph's  Coat' — was  in  full  Tech- 
nicolor.     I    would    like    to   add    that 


in  many  of  the  localities  where 
churches  were  enrolled  as  cus- 
tomers, they  had  the  full  coopera- 
tion of  the  local  moving  picture 
theati-e  men. 

"It  wi'.s  my  conviction  that  if  the 
dirintian  Herald  would  organize 
<'hurches  and  societies  to  show 
films,  we  could  have:  first,  re- 
ligious films,  and  secondly,  selec- 
tions from  the  large  group  of 
highest  character  films,  like  'The 
Covered  Wagon.'  etc..  and  show 
them  to  the  church  people.  In  the 
case  of  religious  films  we  had  a 
series  of  Bible  films  that  were  'fair' 
and  would  cost  several  hundred 
thousand  dollars  to  produce.  We 
had  also  a  library  of  educational 
films  that  technically  speaking 
were  rather  mediocre.  And  lastly, 
we  had  a  group  of  very  fine  Para- 
mount classics.  Arrangements  were 
made  with  the  Paramount  people 
for  those  films  that  had  a  perma- 
nent character  and  were  through 
with  their  runs,  at  a  very  nominal 
rental.  We  were  given  the  choice 
of  several  hundred  such  subjects. 
In  other  words,  we  had  the  active 
cooperation  of  Paramount,  who 
were  anxious  to  have  the  true  value 
of  good  films  demonstrated  to 
church   people   everywhere. 

"The  main  trouble  with  the  whole 
operation  was  the  question  of 
equipment,  fire  standards  and  exper- 
ienced operators  actually  to  show 
the  films.  My  recollection  is  that 
we  had  about  300  or  4  00  churches 
that  were  cooperating  with  us,  and 
a  large  number  of  these  had  to 
discontinue  on  account  of  the  poor 
character  of  the  portable  machines, 
local  fire  rules,  and  similar  tech- 
nical difllculties.  The  entire  matter 
was  so  long  ago  that  I  have  lost 
most  of  the  detail,  but  the  net  of 
it  is  that  we  could  not  make  a 
financial  go  of  it  on  account  of 
the  laclv  of  technical  advances  at 
that  time  in  so-called  non-theatri- 
cal  equipment." 

Now,  if  Patterson  is  correct  in  his 
ascription  of  the  trouble  to  faulty  condi- 
tions of  exhibition,  one  cannot  say  that 
his  adventure  ended  because  churches 
would  not  pay  sufficiently  well  for  his 
service,  although  I  feel  that  "300  or  400 
churches  that  were  cooperating"  would 
not,  in  the  nature  of  things,  have  sus- 
tained the  enterprise  very  long  unless 
their  number  materially  increased.  But 
anyway,  the  reason  Patterson  presents 
bears  out  the  assertion  at  the  start  of 
this  chapter,  that  all  factors  of  exhibition 
must  operate  smoothly  and  in  unison,  or 
exhibition  as  a  whole  will  pay  the  penalty. 
The  Rev.  Frank  E.  Jensen,  a  clergy- 
man who  had  put  motion  picture  ap- 
paratus permanently  into  his  own 
Chicago  church,  who  was  an  incor- 
porator and  vice-president  of  the 
Federal  Motion  Picture  Council  in 
.Xmerica,  and  who,  in  1926  (the  same 
year  of  the  legal  constitution  of  that 
body),  became  editor  of  the  "Church 
and  Pictures"  Department  of  Educa- 
tional Screen,  had  a  matured  plan  for 
supplying  churches  with  reels  when 
tlie  Harmon  Religious  Films  Founda- 
tion unintentionally  forestalled  him. 
Nevertheless,  he  solicited  expressions 
of  interest  from  the  readers  of  Educa- 
tional Screen  as  late  as  the  issue  of 
June.  1926.  He  described  the  plan 
then  as  one  which  called  for  no  selling 
of  stock  or  private  profit,  and  "as  sim- 
ple as  conducting  the  church  itself." 
It  purported  to  cover  production  of 
new  films  and  purchase  of  existing 
ones,  as  well  as  distribution,  and  twelve 
stories  were  said  then  to  be  in  prepa- 
ration. Here  is  how  simple  it  actually 
was:  One  thousand  churches  were  to 
(Continued  on   page  119) 


March,   194} 


Page  97 


Left:  Workers  in   the   Chrysler   tank   arsenal — from"Tanks."Right:Assembling  a  bombing  planein 
the  Glenn  L.  Martin  plant — from  "Bomber."  (Both  films  are  Office  of  War  Information  releases) 


Training  Millions — with  Movies 


(.Editor's  Note :  The  following  excerpts  arc  from  an  address 
by  J.  11.  Afc\'abb,  President  of  the  Bell  &  lloxvell  Company, 
presented  at  the  convention  of  physics  and  chemistry  teachers 
at  the  Cnivcrsity  of  Illinois,  Xo'.embcr  6.  1942.) 

I  AM  very  glad  to  accejit  your  invitation  to  discuss 
with  you  the  contrilmtion  that  Indtistry  is  making 
in  the  audio  visual  field  to  the  war  program — the  train- 
ing of  the  millions  now  being  called  to  the  defense  of 
our  country,  whether  as  soldiers  or  as  munitions  makers 
— or  as  plain  rank-and-file  members  of  the  great  Ameri- 
can public.  We  in  industry  no  less  than  you  in  the 
.schools,  have  a  job  to  do  together,  the  biggest  educa- 
tional job  in  the  history  of  our  country. 

Delivering  facts  quicker  and  more  thoroughly  than 
any  other  form  of  idea  communication  at  this  hour  of 
the  nation's  greatest  need,  the  educational  film  at  long 
last  comes  into  its  own.  In  the  war  against  our  Axis 
enemy,  we  are  faced  with  the  necessity  of  raising, 
(•([uipping  and  perfecting  a  vast  army.  'W^e  have  had 
to  start  almost  from  scratch  for  ours  has  always  been  a 
nation  of  peace..  It  is  quite  a  task  to  take  five  million 
or  .seven  million  plain  people  and  turn  them  into  soldiers. 
Some  notion  of  the  vastness  of  the  training  program  can 
he  gathered  from  the  fact  that  the  Army  Air  Force 
alone  has  to  train  pilots,  navigators,  ground  crews,  bom- 
bardiers, radio  operators  and  many  other  technicians 
for  the  185.000  planes  that  our  President  has  called  for 
in  1942  and  1943.  There  is  a  grave  shortage  of  teachers, 
and  of  all  manner  of  apparatus  they  really  need  to  teach 
with — but  the  training  job  is  lightened  considerably  by 
excellent  teaching  films  already  available  and  it  will 
be  lightened  still  more  by  the  many  additional  direct 
training  films  that  are  now  being  made.  The  Signal 
Corps,  for  example,  the  primary  photographic  arm  of 
the  regular  army,  has  long  been  engaged  in  the  pro- 
duction of  army  training  and  morale  films.  This  ac- 
tivity dates  back  at  least  to  the  last  war,  and  in  the 
present  conflict  the  u.se  of  motion  pictures  for  training 
has  been  tremendously  increased. 

The  essential  purpose  of  a  training  film  is  to  shmv 


the  viewer  how  to  repeat  an  action  that  has  been  visual- 
ly demonstrated  to  him  on  the  screen.  The  training 
films  says  to  the  trainee — "Here  is  an  expert,  doing 
the  thing  we  want  you  to  do — watch  him — and  then  do 
the  same  thing  in  exactly  the  same  way."  Does  it  work? 
Well,  the  Army  certainly  seems  to  thinks  so,  and  they 
•■  ought  to  know.  Col.  M.  E.  Gillette  has  stated  that — 
"by  using  training  films  to  supplement  drill,  manuals, 
and  textbooks,  soldiers  are  being  trained  now  in  40  per 
cent  less  time  than  it  took  in  1917."  The  War  Depart- 
ment has  given  the  following  reasons  why  films  are 
valuable  as  time  savers  and  as  aids  to  improvement  in 
the  quality  of  instruction : 

1.  They  concentrate  attention  on  essentials  by  showing  only 
the  essential  action  or  subject. 

2.  They  bring  demonstrations  of  tactical   e.xercises  or   equip- 

ment to  the   troops,   thus   eliminating   the   time-consuming 
factor  of  moving  troops  to  the  demonstration  areas. 

3.  The  same  demonstration  can  be  shown  repeatedly  without 
expending  tlie  time  and  labor  to  repeat  such  demonstrations 
in  the  field. 

4.  Films  on  the  use  and  care  of  new  equipment  can  be  shown 
in  advance  of  its  arrival,  thus  facilitating  its  immediate  use. 
(It  has  been  reported  that  the  reason  why  our  Russian 
Allies  were  able  to  put  our  lend-lease  material  into  use  so 
quickly  and  so  effectively  was  because  complete  motion  pic- 
ture directions  went  with  every  shipment.) 

5.  Instruction  for  all  troop  units  is  standardized. 

6.  Mechanical  functioning  of  wcajjons  or  motors  can  be  clearly 
depicted  by  means  of  slow  motion  and  animation. 

7.  All  members  of  the  class  can  see  and  hear  all  phases  of  an 
action  which  otherwise  can  be  observed  satisfactorily  only 
by  those  close  to  the  scene. 

8.  The  services  of  the  most  highly  trained  troops  and  expert 
instructors  are  utilized  in  demonstrating  the  methods  and 
techniques  illustrated  on  the  film.  This  insures  that  all 
troops,  regardless  of  location  have  constant  visual  access  to 
the  latest  approved  methods  as  a  standard  in  attaining  their 
training  objectives. 

The  Navy  also  is  training  its  recruits  by  means  of 
an  imposing  list  of  sound  films  that  range  all  the  way 
from  air  raids  to  weather  reports.  The  Coast  Guard 
has  a  growing  series  of  films,  the  Air  Force  also,  and 
so  have  the  Marines.  The  Chief  of  Ordnance  office  has 
issued  a  list  of  93  films  for  civilian  personnel  training. 


Page  98 


The  Educational  Screen 


The  films  are  constantly  being  augmented  by  material 
not  only  froin  many  studios  in  this  country,  but  from 
every  battle  front  where  our  troops  are  engaged.  They 
are  thus  armed  with  the  finest  training  and  knowledge 
that  our  civilization  can  provide,  and  a  good  part  of  the 
credit  goes  to  the  audio-visual  training  aids  developed 
largely  for  and  by  our  schools. 

The  army  films  for  the  training  of  our  soldiers  are 
grappling  with  a  mighty  big  problem,  but  that's  not 
nearly  the  whole  story.  We  have  to  change  ourselves 
not  only  into  a  nation  of  soldiers,  but  into  a  nation  of 
munition  makers  as  well.  For  each  armed  man  in  our 
service,  we  are  told  it  now  takes  eighteen  men  and 
women  at  work  behind  the  man-bebind-the-gun — in 
industry,  transportation,  farming,  and  all  the  other 
many  phases  of  our  complicated  modern  economic  life — 
working  with  all  their  might  to  keep  the  soldier  func- 
tioning effectively  on  his  primary  job.  We  had  to  make 
machinists  out  of  automobile  salesmen,  munition  makers 
out  of  advertising  cop)-  writers ;  we  had  to  teach  brand- 
new  skills  to  millions  of  people,  and  we  had  to  teach 
them  quickly,  efficiently,  and  correctly.  So  we  broke 
down  those  skills  into  minute  sections  that  could  be 
learned  quickly  and  well  by  new  recruits  to  our  labor 
army.  So  today,  our  many  single  operation  specialists 
replace  the  all-around  experienced  craftsmen  with 
many  years  of  experience.  In  this  crisis,  we  drew 
at  once  on  another  great  American  resource — the 
accumulated  experience  of  thousands  of  school  teachers 
in  every  type  of  school,  the  visual  instructionists  who 
for  twenty  years  and  more  have  been  developing  the 
motion  picture  as  a  teaching  tool.  If  you,  as  teachers,  and 
we,  as  purveyors  to  the  school  market,  had  not  for  many 
years  been  developing  this  field  of  visual  education,  the 
armed  forces  would  not  have  found  these  two  teaching 
tools  nearly  so  well  developed  in  our  hour  of  need.  Many 
training  films  are  being  made  specifically  to  meet  definite 
new  training  needs.  A  typical  example  is  found  in  the 
case  of  General  Electric  Company's  series  of  films  on 
welding,  a  series  of  marvelous  16min.  color  films.  An- 
other example  is  provided  b\-  a  soap  manufacturer 
turned  munitions  maker.  Proctor  and  Gamble,  who 
trained  their  personnel  in  advance  of  factory  conversion 
by  Army  films  showing  arsenal  operations.  The  United 
States  Office  of  Education  produced  approximately  fifty 
talking  pictures,  each  devoted  to  a  specific  job  in  the 
training  of  personnel  for  war  industry.  So  satisfac- 
tory were  the  results  obtained  from  the  first  batch,  that 
one  hundred  and  fifty  more  are  now  in  production.  Es- 
tablished non-theatrical  film  distribution  channels  were 
utilized  in  bringing  these  USOE  films  to  a  record  cir- 
culation in  a  very  short  time. 

But  the  modern  industrial  worker  does  not  work  with 
his  hands  alone,  and  even  motion  pictures,  dynamic 
as  they  are,  would  fail  in  their  full  purpose  if  they 
aimed  solely  at  demonstrating  strictly  manual  skills. 
Whether  in  school  or  industr\'  a  motion  picture  pro- 
gram intended  to  aid  the  war  effort  must  not  only  teach 
the  hands  but  must  also  reach  the  heads  and  the  hearts 
of  the  people  to  whom  it  is  addressed.  These  are  just 
as  important  as  are  the  pictures  that  aim  to  improve 
manual  skills.  Such  films  are  offered  by  the  Office  of 
War  Information,  and  by  a  lutmber  of  other  new 
agencies   such   as   the   Coordinator   of   Inter-American 


Aflfairs,  as  well  as  by  the  older  departments  and 
bureaus  such  as  Agriculture.  Interior,  Mines,  Health, 
etc.  Government  morale  films  are,  of  course,  not 
aimed  exclusively  at  industry,  or  at  education.  They 
are  addressed  to  the  entire  American  people,  and  are 
meeting  a  fine  response.  So  also  is  the  new  series  of 
films  just  coming  into  circulation,  produced  by  the 
Office  of  Civilian  Defense.  Encouraging  as  is  the 
progress  that  we  have  made,  our  future  progress  is 
sure  to  be  even  greater.  This  again  is  no  mere  prophecy 
— for  in  countries  like  Great  Britain,  in  the  war  far 
longer  than  we,  the  use  of  motion  pictures  for  training 
and  morale  purjjoses  outstrips  our  own. 

For  example,  our  film  library  is  aiding  in  the  dis- 
tribution of  over  two  hundred  diff^erent  films  from  the 
British  Ministry  of  Information,  marvelous  examples 
of  the  modern  documentary  technique,  most  of  them. 
Some  are  .so  good  that  they  have  been  given  nationwide 
theatrical  distribution  before  becoming  available  for 
non-theatrical  audiences.  They  have  innumerable  films 
dealing  with  the  armed  forces,  civilian  defense,  the  farm 
front,  the  home  front,  the  industrial  front,  transporta- 
tion and  communication,  women  and  young  people  in 
war.  There  is  a  whole  series  of  films  also  devoted  to 
our  fighting  allies,  the  Poles,  the  Czechs,  the  Russians, 
and  even  the  Ethiopians.  And,  of  course,  they  show 
the  war  eflfort  put  forth  by  all  members  of  the  British 
Commonwealth  of  Nations.  A  number  of  the  Dominions 
have  put  out  their  own  film  services  besides. 

Where  is  all  this  going  to  lead  us?  We  may  well  a.sk. 
It  is  sure  to  lead  us.  in  education  as  well  as  industry,  into 
a  world  far  different,  and  we  trust  far  better  than  any 
yet  seen.  A  more  highly  skilled  race  will  be  a  more  pro- 
ductive race.  and.  therefore,  a  race  with  higher  living 
standards  and  a  greater  stake  in  the  world  we  live  in. 
W'e  are  defending  the  old  freedoms  we  long  have  cher- 
ished. We  are  going  to  make  them  stronger  than  ever 
in  our  own  land,  as  well  as  make  them  accessible  hence- 
forth to  all  the  peoples  of  the  world.  By  seeing  pictures 
of  our  fellowmen  of  the  United  Nations,  as  they  fight 
and  work  in  our  common  cause,  we  will  develop  a  far 
better  understanding  of  them,  and  with  understanding 
should  come  a  far  greater  sympathy,  and  a  growing 
liking.  Our  country's  films  are  going  out  to  the  ends 
of  the  earth,  and  certainly  these  pictures  of  our  every- 
day life  and  work  are  going  to  give  other  nations  a  far 
healthier  impression  of  the  real  America. 

What  is  the  war  training  job  going  to  do  to  education, 
to  the  schools  as  we  now  know  them  ?  Certain  it  is  that 
the  present  forward  fusion  that  now  welds  school  and 
industry,  army  and  i)eople  and  Government  all  into 
one  solid  mass,  is  never  going  to  be  turned  back- 
wards. Henceforth  the  school  is  going  to  become  more 
closely  integrated  with  industry  than  ever  before,  and 
industry  with  the  school ;  and  the  use  by  both  of  com- 
mon teaching  tools^ — films  such  as  these  U.S.  Office  of 
Education  films, — is  going  to  be  one  of  the  welding 
agents  that  will  bring  this  about,  and  fit  America's 
countless  millions  not  only  for  the  tasks  of  war  but  of 
the  peace  that  follows. 


March,   194} 


Page  99 


SCHOOL  MADE  MOTION  PICTURES 


Selling  the  School  Through  Movies 

A  PUBLIC  relations  film,  made  in  the  schools  by 
a  professional  cinematographer.  is  reported  by 
Einar  J.  Anderson,  director  of  Public  Relations 
at  Maine  Township  High  School,  a  suburban  school 
of  1700  students  serving  the  cities  of  Park  Ridge  and 
l)es  Plaines,  Illinois,  with  a  total  population  of  25.000. 
Mr.  Anderson's  interesting  account  of  the  profession- 
ally-made school  film  follows: 

■'For  .several  years  a  definite  public  relations  pro- 
gram has  been  carried  on  at  Maine  in  an  eflfort  to 
(leveloj)  under.standing  and  appreciation  for  our  high 
school  by  our  citizens  and  to  educate  the  ]niblic  to 
l)resent  day  trends  in  secondary  education.  This  has 
iieen  done  through  the  accepted  channels  of  school 
jntblicity  such  as  exhibits,  PT.A.  meetings,  monthly  bul- 
letins to  parents,  special  public  programs  and  regular 
weekl)-  releases  appearing  in  our  four  local  newspapers. 

"I^st  year,  however,  we  thought  we  would  try  bring- 
ing the  school  to  the  public  instead  of  asking  the  public 
to  come  to  the  school.  This  was  accomplished  by  pre- 
l)aring  a  fifty-minute  film  covering  the  classroom  ac- 
tivities as  well  as  the  extra  curricular  life  of  the  school 

Frame  enlargements  from  "Maine  in  Action" 


By    HARDY    R.    FINCH 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 


Agricultural    class 
picking    onions 


Student    in    archi- 
tectural    drawing 
class 


At     wortt     in     the 

school    chemifltry 

laboratory. 


With  a  question  box  on  the  making  of 
school  film  productions,  conducted  by 

DONALD    A.    ELDRIDGE, 
Wesleyan  University,  Middletown,  Conn. 


which   we  are   now   scheduling  for   showing  to  every 
club,  church  and  civic  grouj)  in  our  school  district. 

■'Our  first  problem  was  to  decide  whether  the  film 
should  be  taken  by  a  .school  "expert"  or  by  a  profes- 
sional photograi)her.  If  a  local  teacher  were  selected, 
classroom  scenes,  special  projects,  sports  in  season, 
and  outstanding  programs  and  entertainments,  could 
l)e  conveniently  pbotograjihed  as  they  occurred  through- 
out the  year  at  a  great  saving  of  time  and  money. 

'■\\'e  found,  however,  that  by  hiring  a  professional 
photographer  we  could  get  better  composition  and 
better  action  shots.  The  difficulty  in  renting  the  neces- 
.sary  lighting  equipment  to  take  good  colored  pictures, 
indoors,  is  becoming  increasingly  difficult.  The  latter 
point  loomed  large  to  us  because  we  wanted  to  stress 
classroom  activities.  All  of  us  have  seen  movies  pur- 
porting to  give  the  public  a  balanced  view  of  the  school 
and  its  educational  aims  with  over  fifty  per  cent  of  the 
film  devoted  to  the  school's  band  proudly  marching  up 
and  down  the  parade  or  football  field.  This  we  wished 
to  avoid. 

"The  contract  which  we  arranged  with  our  photog- 
rapher called  for  twenty  full  days  of  shooting  indoor 
.shots  with  floodlights  and  ten  days'  shooting  outdoor 
scenes  and  activities.  These  days  were  scheduled 
throughout  the  school  year  to  suit  our  wishes. 

"To  assure  our  film  Maine  in  Action  giving  as  true 
a  picture  of  our  educational  program  and  facilities  as 
possible,  the  footage  was  divided  into  twelve  sections 
as  follows: 

Dramatic  introduction 50  ft. 

School  and  campus  layout 150    " 

Executives  and  personnel 100 

Academic  classroom  scenes 100   " 

Sciences  and  laboratories 200 

Music  and  art  activities 100 

Industrial  and  commercial 250 

Physical  educ.  and  sports 200 

Miscellaneous  courses 100 

Extra  Curricular  Activities 600 

Adult  Evening  School 200 

Graduation  and  closing 200 

"By  labeling  each  shot,  the  views  were  later  arranged 
in  their  proper  sequence.  Every  eflfort  was  made  to 
show  the  pupils  in  action,  doing  their  regular  every-day 
work.  General  views  were  always  followed  by  close- 
ups.  Appropriate  background  music  for  the  film  was 
furnished  by  the  band,  orchestra  and  the  a  cappella 
choir  and  recorded  on  phonograph  records  which  are 
played  simultaneously  wMth  the  film,  ^^'riting  the  script 
took  considerable  time  and  knowledge  of  the  school's 
educational  aims  and  policies. 


Page    100 


The  Educational  Screen 


"When  tlie  rthii  was  finally  completed  (1600  feet  of 
16mm  film  in  technicolor  costing  $500)  the  president 
of  each  organization  in  the  community  was  invited  to 
our  premiere  showing.  Prominent  educators  and  other 
civic  leaders  in  our  school  district  were  also  invited.  The 
"first  nighter"  proved  successful,  and  .soon  we  had 
booked  twenty-four  showings  of  the  film  for  the  first 
month  after  its  release.  Since  then  nearly  every  grou]) 
in  our  community  has  been  shown  the  film.  Some  have 
asked  for  rcjjeat  performances.  It  is  also  a  good  film 
to  use  in  orienting  incoming  freshmen  and  new  students. 

"The  script  .served  to  unite  the  various  shots  as  well 
as  to  give  jiertinent  information  about  the  school  which 
would  be  difficult  to  present  in  picture  form.  The  pic- 
ture started  with  the  name  of  our  school  superimposed 
over  a  view  of  the  main  entrance  to  the  building.  This 
dissolved  into  the  title  of  our  film  Maine  in  Action 
superimposed  over  another  view  of  the  building. 

"The  action  starts  with  a  father  and  mother  arriving 
at  the  school  and  going  to  the  office  to  .seek  information 
regarding  the  possible  enrollment  of  his  children.  The 
man  speaks  first  to  the  school  principal,  '\\'e're  con- 
sidering moving  to  this  community  and  would  like  to 
to  know  a  little  about  your  high  school.  Our  son  and 
daughter  would  enter  next  fall.'  The  jjrincipal  re- 
sponds by  saying.  "We'll  be  very  hap])y  to  show  you 
around  the  school.  This  diagram  in  the  office  will  give 
you  an  idea  of  how  the  building  is  arranged  and  the 
extent  of  our  sixty  acre  cam])us.  Then  we'll  take  you 
around  so  that  you  can  visit  some  of  the  classrooms  and 
see  how  the  work  is  carried  on.' 

"With  this  introduction,  the  couple  is  taken  from 
one  activity  to  another  until  121  scenes  have  been 
viewed.  If  the  subject  matter  is  properly  grouped  and 
the  sequence  is  well  arranged  there  is  little  danger  of  a 
piecequilt  im])ression  even  though  it  contains  many 
scenes.  Transition  from  one  view  to  another  is  made 
natural  and  smooth  by  use  of  fade-outs  and  titles." 

QUESTION  BOX  ON  SCHOOL  FILM  PRODUCTION 

Question:  (.'an  high  school  pupils  actually  be 
trained  to  carry  on  all  of  the  many  activities  involved 
in  movie-making,  independent  of  teacher  supervision? 
With  the  e.xtra  demands  now  being  placed  upon  us. 
rationing,  substituting,  et  al,  I  find  that  1  simply  do  not 
have  time  to  give  to  this  work  which  I  used  to  enjoy 
so  much. 

Although  a  few  of  our  students  have  always  done  a 
reasonable  share  of  the  work,  arranging  lights,  opera- 
ting the  camera,  etc,  I  have  always  been  on  hand  to 
give  directions  and  to  see  that  things  ran  smoothly. 
In  fact,  I  generally  checked  ex])osure,  focus,  footage, 
etc.,  myself,  jirincipally  to  insure  thrifty  use  of  film, 
for  we  have  to  finance  our  own  productions.  I  have 
heard  that  in  some  schools  the  students  carry  on  with- 
out such  teacher  ])artici])ation,  but  have  been  frankly 
dubious  about  turniilg  the  whole  thing  over  to  the  boys 
and  girls  here.  I'd  be  interested  in  any  suggestions 
you  may  have  on  how  other  schools  do  this,  and  how 
successful  their   results  are. 

Answer:  This  is  a  difficult  question  to  answer  with  so 
little  knowledge  of  the  background  of  the  situation.  There 
are  three  basic  variable  factors  which  must  be  considered 
in  applying  the  suggestions  offered  to  any  particular  school 


or  group  of  students:  (1)  the  general  philosophy  and  atmos- 
phere— "esprit  de  corps"  if  you  will— of  the  school,  and 
(2)   the  calibre  and   (3)  experience  of  the  students. 

Of  tliese,  the  first  is  i)erhaps  the  most  important.  If  the 
school  is  one  where  the  administration,  teachers,  and 
students  are  cooperative  by  custom  and  practice  in  a 
friendly,  informal  way,  and  where  they  are  frequently 
helping  one  another  with  various  projects,  even  mediocre 
students,  witli  little  or  no  experience,  could  be  trained  to 
conduct  a  production  program  with  a  minimum  of  super- 
vision. (A  little  guidance  is  always  needed,  even  where  the 
students  are  C|uite  "independent.")  On  tlie  other  hand,  in 
schools  where  the  atmosphere  is  less  conducive  to  this  sort 
of  activity,  the  problem  would  be  great:  perhaps  insurmount- 
able unless  an  exceptional  group  of  students  was  available 
to  overcome  the  human  as  well  as  the  technical  obstacles. 

In  all  cases  with  which  we  are  familiar,  where  students 
have  worked  with  very  little  faculty  direction,  there  has 
been  a  boy  or  girl  possessed  of  outstanding  tact,  eiuhusiasm, 
dependability,  and  technical  understanding,  to  supplant 
the  teacher.  A  combination  of  two  young  people,  one  with 
the  personal  attributes,  the  other  with  the  technical  knowl- 
edge, would  probably  work  nearly  as  well.  Given  the 
qualities  of  real  interest  in  the  work,  and  reliability,  a 
teacher  can  train  students  of  little  or  no  experience,  and 
of  only  average  intelligence,  to  do  a  creditable  job  wherever 
si)ecial   technical  problems  are   not  involved. 

How?  Certainly  not  by  mere  "paper  work."  .'\rticles  and 
instructions,  however  clear,  can  provide  only  a  background 
for  the  uninitiated.  .\  certain  amouiU  of  actual  practice  and 
coaching  is  definitely  essential.  For  the  sake  of  brevity, 
we  will  outline  a  suggested  procedure.  This  is  by  no  means 
intended  to  be  arbitrary,  and  as  you  work  over  it,  you 
will  undoubtedly  devise  adaptations:  in  fact  you  will  have 
to,  to  meet  your  own  particular  circumstances.  We  will 
assume  that  you  are  to  start  "from  scratch,"  attempting 
to  train  individuals  who  have  little  or  no  actual  knowledge 
or  experience.     .Accordingly,  we  suggest  that  you: 

1 — Select  two  or  three  students,  boys  or  girls,  for 
the  qualities  mctuioned  above,  and  concentrate  on  them. 
(Later,  when  tliey  are  thoroughly  grounded  in  funda- 
mentals, they  can  train  others  in  turn  as  deemed  advisable.) 

2 — Have  them  read  such  books  as  .Arthur  Gale's  How  to 
Write  a  Movie  (New  York,  Brick  Row  Book  Shop)  and  Pro- 
diicinfi  School  Moi-ics.  by  Hardy  Finch  and  Eleanor  Child 
(Chicago  National  Council  of  Teachers  of  English)  to  gain 
an  over-all  view  of  the  diversified  problems  involved. 

3 — Have  them  outline,  in  order  of  importance,  their 
conception  of  the  steps  to  be  taken  in  preparing  to  pro- 
duce a  film  at  your  school.  If  the  subject  of  the  film  is 
already  decided  upon,  this  should  be  done  in  terms  of  that 
specific  film,  thus  .giving  focus  to  the  students'  reading 
and  plannin.g. 

4 — Demonstrate  the  complete  use  of  the  camera,  with 
practice  in  loading  and  removing  film  (using  a  "dummy" 
roll,  of  course),  adjustment  of  lenses,  measuring  and 
setting  for  focus,  handling  the  tripod,  and  all  other  basic 
techniques.  Let  the  students  practice  these,  still  using 
dummy  film,  over  a  week-end.  to  get  the  "feel"  of  the 
equipment. 

5 — Explain  and  demonstrate  the  use  of  lights.  It  would  be 
well  to  provide  chart  summarizing  the  various  types  of 
l)hotofloods,  their  wattage,  and  probable  use.  Combined 
with  this  should  be  practice  in  the  use  of  an  exposure  meter, 
and  a  chart  of  the  Weston  ratings  for  various  types  of  film. 
The  students  should  practice  setting  up  lights  for  a  variety 
of  shots.  These  arrangements  could  be  worked  out  and 
diagrammed  over-night,  and  checked  by  the  teacher  the 
following  day.  This  would  give  a  good  understanding  of 
the  basic  principles  of  lighting. 

6 — Explain  in  simple  terms  the  essential  principles  of  out- 
door lighting  and  exposure. 

7 — Explain  and  demonstrate  various  basic  camera  tech- 
ni(|ues  and  common  amateur  faults,  such  as  the  importnce 
of  the  tripod,  the  very  special  use  of  the  "pan",  diflficulties 
of  shooting  into  the  light,  avoidance  of  right  angle  shots  of 
people    running,    composition     and    balance,    "framing"    of 

( Concluded  on  page   108) 


March,   194} 


Page   101 


The  Air  Age — In  Hand-Made  Lantern   Slides 


By    ANN    GALE 

WE  ARE  living  in  the  Air  Age,  but  most  of  us  do  not 
grasp  the  gigantic  revolution  the  airplane  lias  made  in 
all  human  affairs.  The  following  six  slides  may  serve  as  an 
introduction  to  the  problems  of  the  Air  Age  for  junior  high 
school  students: 

1)  A  North  Pole  centered  map  shows  how  the  old  hemi- 
sphere geography  is  completely  out-of-date  when  airplanes 
are  used.  Flying  over  the  Arctic  ocean,  Seattle,  Minne- 
apolis and  New  York  are  nearly  the  same  distance  from 
Moscow.  New  York,  Miimeapolis,  Chicago.  Pittsburgh  and 
Detroit  are  within  5000  miles  of  Berlin.  By  plane  we  are 
closer  to  parts  of  Europe  and  Asia  than  to  South  America, 

2)  The   present  war   has   shown   that   the   most   superbly 


Lindblom  High  School,  Chicago 

equipped  and  mechanized  army  is  worthless  without  control 
of  the  air. 

i)  Naval  warfare  especially  in  Crete  demonstrated  the 
helplessness  of  battleships  without  control  of  the  air. 

4)  The  only  efficient  policing  of  the  aggres.sor  nations 
after  the  war  will  probably  be  an  international  bomber 
partol. 

5)  It  is  a  question  what  will  become  •f  the  smaller 
nations  of  the  world  now  that  the  airplane  has  made  for- 
tresses, natural  barriers  and  "buffer"  states  of  no  value.  Will 
these  nations  merge  into  a  few  large  states? 

6)  The  airplane  has  opened  up  vast  new  areas  of  natural 
resources  never  touched  before  because  other  forms  of 
transportation  conid  not  reach  them. 


'^ 

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v: 

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1       \. 

Vjs^^q^/^^           } 

The  sim- 
plest type 
of  h  and  - 
made  slide 
is  made  by 
drawing  or 
tracing  on 
finely  fin- 
ished etched 
glass  with 
ordinary 
medium  lead 
pencil.  Col- 
or, by  spe- 
cial crayons 
or  inks,  en- 
hances the 
slides  great- 
ly. Fine  ef- 
fects are  ob- 
tained by 
blending 
w  i  t  h  cray- 
ons. About 
one  -  third 
inch  margin 
should  be 
left  all 
around  the 
slide.  The 
slide  is  read- 
ily cleaned 
with  soap  or 
zv a  s  h  in  g 
powder  to 
receive 
a  new  pic- 
ture. 


Page   102 


The  Educational  Screen 


The  Film  and  International  Understanding 


Omaha  Students  "Listen  to  Britain" 

FRANK     M.    RICE 

English  Department, 
Omaha  Central  High  School 

THE  OWI  film  Listen  To  Britain  is  unique  in 
that  it  has  no  dialogue.  It  portrays  directly  the 
sights  and  sounds  of  Britain,  and  the  audience  liter- 
ally "listens  to  Britain."  How  would  a  group  of  high 
school  students  in  the  heart  of  America,  far  removed 
from  Britain,  react  to  such  an  experience? 

With  this  question  in  mind,  the  films  was  shown  to 
approximately  800  eleventh  and  twelfth  grade  high 
school  pupils  of  Omaha  Central  High  School.  As  soon 
as  they  had  seen  the  film,  and  without  discussion,  they 
were  asked  to  write  answers  to  the  following  questions : 

(1)  How  did  this   film  aflfect  your  previous  opinion 
of  England  ? 

(2)  Did  this  film  improve  your  opinion  of  Britain  as 
our  ally? 

(3)  Did  this  film  make  you  more  anxious  to  help  in 
the  war  effort? 

(4)  What  other  effects  did  the  film  have? 

In  order  to  trace  the  trend  of  reaction,  without  en- 
tailing burdensome  tabulation,  eight  questionnaires 
were  selected  at  random  and  analyzed  in  detail.  The 
answers  to  questions  one  and  four  were  so  similar  in 
many  respects  that  they  may  best  be  grouped  together. 
Since  these  were  free  response  questions,  they  revealed 
various  interesting  reactions  to  the  film.  Many  were 
surprised  to  find  the  English  people  much  the  same 
as  the  Americans  in  respect  to  their  work  and  recrea- 
tion. Others  were  ashamed  of  the  little  effort  we  have 
made  so  far  as  compared  with  the  English  effort.  Some 
were  impressed  by  the  number  of  women  doing  men's 
work,  the  presence  of  so  many  uniforms,  the  efhciency 
of  the  black-out.  A  number  were  .surprised  to  see  al! 
classes  working  and  playing  together. 

In  respect  to  question  two.  sixty-six  answered  affirm- 
atively; six  were  unchanged  because,  as  one  put  it, 
"I  have  always  admired  England  as  our  ally"  ;  and  eight 
were  not  favorably  impressed.  In  response  to  ques- 
tion three,  sixty-nine  were  affirmative ;  nine  unchanged 
because  they  already  were  doing  all  they  could ;  and 
two  were  unmoved. 

Though  the  majority  were  a  bit  confused  by  the 
technique  of  the  film,  since  they  were  given  no  pre- 
liminary instruction  as  to  what  to  expect,  they  did  enjoy 
the  musical  background,  the  nicely  balanced  contrasts, 
as  exemplified  by  the  small  children  and  the  implements 
of  war,  the  rural  and  the  urban  life,  the  practical  and 
the  cultural,  night  and  day,  fog  and  sunshine,  the  lark 
and  the  factory  whistle.  The  fact  that  the  technique 
of  the  film  caused  some  confusion  suggests  that  ade- 
quate preliminary  by  the  teacher  or  in  the  beginning 
of  the  film  itself  might  increase  its  effectiveness  con- 
siderably. 

In  general,  the  reaction  to  the  film  was  good,  a 
pleasant  experience.  Many  were  very  enthusiastic. 
There  were  a  few  who  took  exception  to  the  film  on 
the  basis  that  it  was  propaganda,  but  they  were  not 


Edited  by  DR.  JOHN  E.  DUGAN 

Haddon  Heights,  New  Jersey,  Schools 


EDITOR'S  NOTE— The  very  variety  of  reference  in 
the  material  in  this  month's  department  bears  implicit 
evidence  of  the  broad  scope  of  the  film  in  this  field  of 
international  understanding.  Reference  is  made  to  a  mid- 
western  high  school  and  to  a  great  eastern  university, 
to  an  English  film  for  Americans  and  American  films  for 
Britons,  to  16mm  and  35mm  and  possible  changes  between 
them. 

This  field  of  international  understanding  is  a  new  field 
which  is  opening  up  great  possibilities.  It  is  not  a  narrow 
field,  but  a  field  as  wide  as  the  world  itself  and  as  com- 
prehensive as  the  whole  field  of  motion  picture  art  and  pro- 
duction. 


opposed  to  Britain  as  our  ally.  Interestingly  enough, 
some  pupils  compared  this  picture  with  Mrs.  Miniver. 
preferring  the  latter  becau.se  "it  was  easier  to  listen  to." 

Visual  Interpretation  Courses  in 
Yale  Foreign  Area  Studies 

"Visual  Interpretation  Courses"  will  be  part  of  a 
program  of  "Foreign  Area  Studies"  which  the  Graduate 
School  of  Yale  University  has  inaugurated  to  train 
college  graduates  and  other  qualified  individuals  for 
service  during  the  war  and  in  the  post-war  world. 

Intensive  language  and  analytical  courses  will  be 
offered  on  various  countries  and  areas  of  the  world.  Stu- 
dents will  normally  specialize  in  one  country  or  area,  and 
will  divide  their  time  evenly  between  a  language  course 
and  analytical  courses.  As  an  integral  part  of  these 
^  courses,  a  jjrogram  of  lectures  illustrated  by  carefully 
selected  moving  and  still  pictures,  showing  the  physical 
environment,  economic  life  and  culture  of  the  people 
and  the  country  will  be  offered. 

A  more  comprehensive  report  on  these  "Visual  Inter- 
pretation Courses"  will  appear  in  a  later  issue  of  this 
department. 

Film  Series  Builds  Morale  at  Home 
and  Good  Will  Abroad 

Under  the  title  This  Is  America,  RKO  is  currently 
issuing  for  theatre  showing  a  series  of  two-reel  features 
based  upon  our  war  effort.  The  series  is  being  released 
both  here  and  abroad  in  the  expectation  that  it  will  con- 
tribute to  morale  at  home  and  to  better  understanding 
of  America  overseas. 

The  first  of  the  series.  Private  Smith  oj  the  U.S.A., 
takes  a  typical  small  town  lad  through  the  first  thirteen 
weeks  of  his  basic  training  in  the  army.  Women  In 
Arms,  the  second  release,  shows  how  each  of  a  score 
of  typical  American  women  finds  her  place  in  the  war 
effort.  Another  release.  Army  Chaplain,  portrays  the 
heroic  and  useful  life  of  a  typical  U.  S.  Army  chaplain, 
and  tells  the  human  story  of  all  faiths  on  the  fighting 
fronts.     It  is  planned  to  release  a  new  picture  in  the 

(Concluded  on  page  115) 


March,  1943  Page  103 

*  A  Vital  New  Use  for  RCA  Audio-Visual  Aids!  * 


When  the  enemy  attacks  •  •  • 
Our  boys  remember  a  movie  they  sanir ! 


Maybe  it's  the  first  time  that  this  American  soldier 
has  faced  the  enemy. 

The  shells  scream  and  lunge  overhead  . . .  the 
machine  guns  crackle  and  chatter  . . .  there's  a  dog- 
fight in  the  air ... 

But  that  American  boy  is  prepared  . . .  just  for  this. 
Instinctively,  he  remembers  the  maneuvers  back 
home,  the  drilling,  the  words  of  his  commanding 
officer.  And  he  remembers  too,  a  movie  he  saw. 

For  part  of  that  American  boy's  training  was  see- 
ing films  that  prepared  him  for  combat  conditions. 
Every  man  in  his  camp  had  to  see  them,  had  to  study 
the  movements  and  actions,  the  best  ways  to  meet 
the  enemy  and  beat  him  back. 

America  is  giving  its  fighting  men  the  soundest, 
most  thorough  training  any  army  can  receive— 
and  films  are  a  vital  part  of  that  training.  The 
Signal  Corps,  the  Air  Corps,  the  Navy,  and 


other  branches  of  the  armed  services,  use  this  new 
visual  method  to  help  equip  their  men  for  modern 
warfare.  At  present,  there  are  more  than  500  sub- 
jects covered  by  the  training  film  program,  and  new 
ones  are  being  added  constantly. 

In  all  of  this  work,  RCA  projectors,  film  recording 
and  reproducing  facilities  play  an  important  part. 
We  are  proud  that  our  equipment  can  help  prepare 
American  fighting  men  to  face  the  enemy  with 
greater  confidence  and  greater  skill . . .  can  help  make 
them  the  fighters  who  will  lick  the  Axis! 

Today,  when  RCA  16  mm.  sound  projectors  are 
available  only  for  war  purposes  — it  pays  to  keep 
your  equipment  in  topnotch  condition. 
Treat  it  carefully,  make  it  do  for  the 
duration  —  until  you  can  again  ob- 
tain these  superior  projectors  for 
your  educational  work. 


ICTORY 
BUY 


WAR 

INDS 


RCA  Victor  Division  •  Educational  Dept. 

RADIO  CORPORATION  OF  AMERICA,  Camden,  N.  J. 


Page    104 


The  Educational  Screen 


^riE.  JjlExatuxE.  in  ^  l/iiuaL  IJn±t%uc£ion 


A    Monthly    Digest 

UTILIZATION 

Visual  Aids  Quicken  Learning — Ralph  W.  Whalen,  teacher 
training  department,  Armored  Force  School,  Fort  Knox, 
Ky. — Industrial  Arts  and  Vocational  Education  32:8. 
January,    1943. 

Tlie  principles  followed  in  using  visual  aids  for  education 
.  of  men  in  service  are  summarized  and  their  possibilities  and 
criteria  for  selection  enumerated.  The  types  of  aids  used  are : 
blackboard  illustrations,  made  by  teachers  or  students ;  models 
of  the  cutaway,  sectional,  enlarged  or  small-scale  type  on 
engines,  guns,  etc. ;  charts  that  are  large  enough  for  all  to 
see.  and  which  are  mounted  on  rcjllers ;  bulletin  boards :  sand 
tables  where  terrain  problems  and  the  use  of  certain  kinds  of 
arms  are  demonstrated :  exhibits  of  damaged  tools  and  the 
like :  filmstrips  that  tell  how  to  do  things ;  lantern  slides ;  and 
motion  pictures  for  basic  training,  mechanical,  technical  and 
tactual  training. 

Motion  pictures  arc  used  only  where  they  have  proved  an 
effective  aid  to  learning.  Visual  aids  are  obtained  as  much 
as  possible  by  resourcefulness  on  the  part  of  instructors  and 
students. 

Science  Films  as  Demonstration — Paul  F.  Brandwein,  Forest 
Hills  High  School,  N.Y.C.—High  Points.  24:69.  December, 
1942. 

The  author  chose  five  silent  films  for  use  in  an  experiment 
to  determine  the  effectiveness  of  using  films  exactly  as 
laboratory  demonstrations.  All  subtitles  were  removed  from 
the  films  and  the  teaching  procedures  were  varied  to  parallel 
variations  in  laboratory  demonstration  techniques.  In  three 
years  of  experimentation,  with  9  cla.sses  that  included  201 
students  in  the  experimental  group  and  132  in  the  control 
group,  the  author  was  able  to  draw   some  conclusions. 

Sound  films  that  depend  largely  upon  the  spoken  com- 
mentary are  not  practicable  for  this  kind  of  application.  The 
silent  films  chosen  were  found  effective  for  presenting 
laboratory  demonstrations,  that  is,  they  stimulated  reflective 
thinking  on  the  basis  of  observations  independently  made  by 
the  students.  The  films  would  prove  most  effective  in  the 
hands  of  a  stimulating  teacher. 

Such  application  of  the  motion  picture — for  demonstration 
purposes— suggests  the  need  for  50  to  200  foot  subjects  that 
would  be  easily  handled. 

The  Motion  Picture  and  the  Teacher— edited  by  Hardy  R. 
Finch,  Head  of  English,  Greenwich,  (Conn.)  High  School, 
in  cooperation  with  the  Committee  on  Standards  for 
Newspapers  and  Motion  Pictures  of  the  National  Coun- 
cil of  Teachers  of  English,  Greenwich,  Conn.,  1942.  16 
pp.  IS  cents. 

This  pamphlet  contains  a  series  of  discussions  on  the 
use  of  the  motion  picture  in  the  classroom  and  in  the 
community.  In  "Reading  about  the  Movies,"  Eleanor  D. 
Child  shows  how  high  school  students  may  enjoy  reading 
books  dealing  with  motion  pictures.  Hardy  R.  Finch,  in 
"Student  Writing  and  the  Movies,"  points  out  the  ways 
that  teachers  may  stimulate  student  composition  work  by 
using  the  movies  as  a  center  of  interest.  Francis  Detscher 
and  Marion  T.  Parker  suggest  ideas  for  photoplay  clubs 
in  "The  Activities  of  the  Movie  Club."  Lt.  Godfrey  Elliott 
discusses  "Using  Films  in  the  English  Classroom."  Maribel 
Richardson  tells  how  her  students  are  "Developing  Critical 
Attitudes  by  Motion  Picture  Study,"  while  Donald  A.  Eld- 
ridge  presents  some  pertinent  material  on  "Motion  Picture 
Study  and  the  Community."  Following  Mr.  Eldridge's 
article  is  a  chart  showing  the  relation  of  motion-picture 
study  to  the  school  and  the  community. 

The  teacher  experienced  in  using  the   motion   picture   in 


Conducted    by    ETTA     SCHNEIDER 


the  classroom  will  find  some  new  ideas  in  The  Motion  Picture 
and  the  Teacher.  The  teacher  just  beginning  to  use  motion 
pictures  in  her  work  will  find  the  booklet  e.xtremely  helpful. 

Pan-American  Movie  Club — Cecilia  M.  Schmid,  assistant 
principal  of  Shakespeare  School — Chicago  Schools  Journal, 
Sept.-Dec.    1942.     p.  34. 

During  the  club  period  one  of  the  activities  in  this  school 
was  the  showing  of  travel  films  on  South  America.  The 
titles  and  sources  of  these  are  given  in  the  article,  most  of 
which  are  industrial  or  advertising  films.  At  the  meetings 
Spanish  children  were  invited  to  sing  or  dance  and  the  club 
presented  a  Pan  American  Assembly  at  which  songs  and 
dances  were  performed  in  native  costumes. 

MUSEUMS 

The  Future  of  Education  in  Museums— Alfred  Busselle,  Jr., 

Supervisor  of  the  Junior  Museum,  Metropolitan  Museum  of 

Art,   New  York — Education,  63:226  December,   1942. 

Never  have  men  been  so  in  need  of  a  believable  image,  not 

only    of    their    own   cultural    ancestry,    but    of   that    of    other 

;aces.     We  must  believe  emotionally  as   well   as   intellectually 

that  a    life   different    from    our    own   may    nevertheless   be   as 

good.     Museums  must  realize  their  responsibility  in  promoting 

new    acceptance — as    distinguished    from    the    tolerance   which 

is  the  best  we  have  been  able  to  offer  to  date. 

The  future  of  museums  seems  to  lie  in  two  related  chan- 
nels: first,  in  sensitizing  the  individual,  so  to  speak,  to  a 
vibrant  exhilaration  in  the  arts  of  peace,  helping  him  to 
polish  one  after  another  of  the  facets  of  his  inner  life;  second, 
in  promoting  the  brotherhood  of  man  through  awareness  of 
the  achievements  of  the  equality  and  integrity  of  men. 

Museum   Education   After   the   War — Charles   H.    Sawyer, 

Worcester     Art     Museum,     Worcester,     \lass.— Education, 

63:222  December,   1942 

In  the  past  ten  years  the  art  museums,  through  the  impetus 
of  the  Museum  of  Modern  Art  in  New  York,  the  San  Fran- 
cisco Museum  of  Art  and  others,  have  brought  their  activities 
and  programs  to  include  not  only  the  conventional  fine  arts 
mediums  of  oil  painting  and  sculpture,  but  also  music,  the 
dance,  photography,  the  motion  picture,  and  branches  of  the 
commercial  and  industrial  arts.  In  this  sense,  a  real  begin- 
ning has  been  made  towards  establishing  the  art  museum  in 
its  community  as  a  center  for  all  its  related  art  interests 
rather  than  a  repository  for  the  most  exotic  and  expensive 
evidences  of  i)restige  and  wealth. 

The  educational  work  of  the  art  museum  has  also  been  in- 
fluenced during  this  period.  Ten  years  ago  the  only  edu- 
cational program  was  the  guided  tour  and  sometimes  creative 
classes  for  children.  Museum  guidance  has  been  continued 
and  even  improved  by  closer  collaboration  with  the  school 
program.  Creative  classes  have  spread  to  include  young 
children,  adolescents  and  adults.  Children's  museums  have 
developed  both  as  independent  institutions  and  as  depart- 
ments of  the  larger  museums.  Finally,  many  museums  have 
expanded  the  educational  implications  of  their  work  by  the 
use  of  didactic  or  interpretive  exhibitions  which  seek  visual- 
ly as  well  as  verbally  to  convey  to  the  layman  what  they 
might  see  in  an  object  of  art.  Pioneered  by  the  Cincinnati 
Museum,  ably  seconded  by  many  of  the  country's  smaller 
and  more  progressive  ones,  these  exhibitions  have  now  be- 
come an  accepted  part  of  the  program. 

For  these  developments,  museums  owe  a  great  debt  of 
gratitude  to  the  great  private  foundations,  and  especially  to 
the  Carnegie  and  Rockefeller  Foundations,  who  have  made 
possible  many  of  the  pioneer  developments  in  museum  educa- 
tion. The  place  of  the  art  museum  in  the  post-war  period  is 
already  suggested    in   these    developments  of   the  last  decade. 

(Continued  on  page  106) 


March,   194} 


Page    105 


GtJARDIIVG    AMERICA'S    OUTPOSTS 


Yet,  Almost  Every  Night  They  Seey^^j^ 


fROM  the  Aleutians  to  the  Solomons, 
from  the  Caribbean  to  Iceland,  the 
morale  of  American  fighters  is  main- 
tained with  fre<|uent  showings  of  the 
latest  16mm.   motion   pictures. 

Just  as  important  to  the  success  of  our 
war  effort,  too,  is  the  widespread  use  of 
16mm.  training  films  in  all  branches  of 
the  U.  S.  armed  services — and  in  many 
phases  of  our  vocational  and  industrial 
educational  program. 

Enlist  Your  Projector! 

The    War   Department    urges   civilian 


owners  of  16mm.  sound  projectors  to  re- 
sell them  to  the  makers  who  are  author- 
ized to  pay  a  reasonable  price  for  ac- 
ceptable machines  which  will  be  recon- 
ditioned and  shipped  overseas. 

100%  of  .\mpro  facilities  are  engaged 
in  the  production  of  precision  war  equip- 
ment and  projectors  for  education  and 
training — assuring  mare  efficient  pro- 
jectors than  ever  when  the  war  is  over. 
Plan  for  the  future  by  keeping  up  with 
the  newest  developments  in  16mm.  pro- 
jectors. Write  today  for  latest  Ampro 
Catalog! 


»i»y  U.S.  War  Bonds 
and  Stamps 


THE  AMPRO   CORPORATION,  2851   N.  Western  Ave..  Chicago,  III. 


AMPRO 


PRECISION     CINE     EQUIPMENT 


Page   106 


The  Educational  Screen 


If  the  museum  is  to  compete  successfully  for  public  funds  (as 
most  of  them  will  almost  certainly  be  compelled  to  do  with 
the  drying  up  of  sources  of  private  endowment),  they  will 
need  to  enlarge  still  further  their  contribution  to  the  gen- 
eral educational   program   of  their   community. 

Adult  education  will  be  expanded  through  creative  classes, 
lecture  courses,  interpretive  exhibitions,  etc.  A  similar  de- 
velopment could  take  place  in  the  program  for  children.  Ex- 
tension in  museum  activity  through  branch  museums  may  be 
tried,  but  the  author  believes  that  the  primary  responsibility 
of  the  art  museum  is  within  its  owns  walls,  or  within  the 
wall  of  those  branch  museums  now  tentatively  established  by 
several  of  the  large  institutions,  and  if  it  spreads  its  activities 
too  far  afield,  it  can  no  longer  function  as  a  whole.  It  is 
unquestionably  the  museum's  function  to  supply  the  school  sys- 
tem with  adequate  illustrative  and  background  material  for 
guidance  tours. 

If  the  whole  relation  of  the  museum  to  the  school  can  be 
properly  clarified,  we  shall  see  in  the  post-war  period  a  tre- 
mendous increase  in  the  use  of  the  museums  by  the  schools 
and  a  far  more  effective  contribution  on  the  part  of  the 
museum   to  our  educational   system. 

EQUIPMENT 

Acoustic     Performance     of    16-millimeter    Sound    Motion- 
Picture   Projectors — Wilbert   F.   Snyder — Circular   of  the 
National  Bureau  of  Standards,  C439.  1942.  15c.  56p.  biblio. 
Thi.s;  report  is  based  on  an  investigation  of  the  perform- 
ance of  the  sound-reproduction  system  of  16mm.  projectors 
for   the   Committee   on    Scientific   Aids    to    Learning.      The 
bulletin    describes   the    tests  used    for  determining   the    ef- 
fectiveness  of  the   sound  reproducing  aspect  of  projection. 
In   addition  to  the   over-all  performance   of  each  of   six 
types  of  projectors,  including  the  response-frequency  range, 
harmonic   distortion,   volume   of  sound,   noise   of  operating 
the  mechanism,  there  were  tests  for  specific  qualities,  such 
as  flutter,   the   coordination   of  the  amplifier  and   scanning 
beam,  the  efficiency  of  the  loudspeaker  and  the  like. 

The  author  deplores  the  fact  that  no  test  filin  is  available 
that  would  permit  the  proper  testing  of  acoustical  qualities 
in  a  projector.  Of  course,  the  quality  of  recording  used 
must  be  considered  in  determining  the  reproduction  pos- 
sibilities. This  need  for  a  good  test  film  was  expressed 
by  the  Non-Theatrical  Equipment  Committee  of  the  Society 
of  Motion   Picture   Engineers   (July,   1941). 

Certain  improvements  are  recommended  to  manufacturers 
of  16mm.  projectors,  and  specific  suggestions  arc  given 
throughout  this  report  that  would  permit  these  improve- 
ments to  be  effected. 

For  the  average  school  administrator  who  wants  to  check 
on  certain  makes  of  projectors  before  buying,  the  SMPE 
report  is  more  suitable  because  it  goes  beyond  the  actual 
projector  to  include  acoustics  of  the  room,  screens,  and 
the  like.  However,  this  report  on  the  acoustical  perform- 
ance of  projectors  will  be  useful  in  a  school  system  where 
engineers  are  available  to  help  carry  on   the  proper  tests. 

BOOK  REVIEW 
The    Theory    of    the    Photographic    Process — Dr.    C.    E. 

Kenneth  Mees,  Vice-President  of  Eastman  Kodak  Company 

and  Ciiief  of  Research  Laboratories.   1085  p.   1942. 

Photography  is  both  a  science  and  an  art.  Books  on  photog- 
raphy deal  chiefly  with  the  practice  of  the  art,  but  to  under- 
stand that  practice,  it  is  necessary  to  know  something  of  the 
science  behind  it,  and  consequently  most  books  on  photog- 
raphy contain  some  discussion  of  the  underlying  principles. 
Up  to  the  present  time,  however,  there  has  not  been  avail- 
able any  book  in  which  the  whole  scientific  theory  of  the 
photographic  process  is  discussed  in  detail.  This  process  is 
the  subject  matter  of  "The  Theory  of  the  Photographic 
Process." 

Such  a  book  could  only  be  written  by  a  considerable  group 
of  experts,  and  the  group  who  form  the  staff  of  the  Kodak 
Research  Laboratories  is  peculiarly  fitted  for  the  task.  Dr. 
Mees  has  combined  their  contributions  to  produce  a  work 
which  is  not  merely  authoritative  but  is  as  readable  as  such 
a  book  can  be. 

The  book  contains  six  sections:     The  Photographic  Ma- 


terial ;  The  Action  of  Light ;  Development  and  the  After 
Processes;  Sensitometry;  Photographic  Physics;  and  Op- 
tical Sensitizing.  There  are,  in  all,  twenty-five  chapters,  ex- 
haustive indexes,  and  more  than  400  illustrations.  Some  of 
the  chapters  are  not  merely  resumes  of  published  work  but 
are  in  themselves  monographs  on  subjects  of  which  there 
has  been  no  comparable  discussion. 

This  book  will  not  enable  the  reader  to  take  better  photo- 
graphs, and  its  study  requires  a  working  knowledge  of  gen- 
eral chemistry  and  physics.  It  will,  however,  be  of  the 
greatest  value  to  the  student  of  the  subject  and  to  the  many 
scientists  who  will  find  in  it  the  whole  literature  of  photo- 
graphic science  discussed  with  knowledge  and  authority. 

The  book  can  be   purchased   through   photographic   dealers. 

SOURCES   OF  INFORMATION 

Films    for    the    Community    in    Wartime — Mary    Losey — 

National   Board  of  Review  of  Motion   Pictures,  70   Fifth 

Ave.,  New  York  City.  1943.  SOc.  78  p. 

A  well-organized  handbook  for  use  in  groups  that  may 
have  had  no  experience  with  community  film  showings, 
and  who  may  have  been  apprehensive  about  such  an  under- 
taking. The  style  is  informal  and  the  information  accurate 
and  sound.  From  the  Foreword  by  Quincy  Howe  and  the 
Introduction  by  James  Shelley  Hamilton,  we  are  told  that 
Miss  Losey  actually  saw  and  evaluated  the  films  recom- 
mended. This  was  no  small  task,  but  one  which  most 
"compilers"  fail  to  do.  A  commentary  is  inserted  between 
each  grouping  of  films,  giving  some  of  the  background 
of  the  agency  responsible  for  them,  and  so  on.  The  de- 
scriptive statement  for  each  title,  similarly  gives  informa- 
tion about  those  who  made  it  and  whether  or  not  it  is 
available  for  non-theatrical  use. 

The  first  chapter,  "Films  That  Will  Help  Win  the  War" 
is  the  longest  and  includes  titles  under  the  following  cate- 
gories: Who  Are  Our  Allies?  (then  are  listed  films  on 
Great  Britain,  U.S.S.R.,  China,  Canada,  Latin  America  and 
other  LTnited  Nations) ;  What  is  Life  Like  in  the  Armed 
Forces?;  What  Does  Global  Warfare  Mean?;  What  Does 
Total  Warfare  Mean  to  Me? 

Then  the  author  gives  some  pointers  on  the  utilization 
and  showing  of  films.  Sources  of  information  are  included 
at  the  end. 

Flying    and    Weather — Lili    Heimers — New    Jersey    State 

Teachers   College,  Upper  Montclair,  N.  J.   13  p.  mimeo. 

SOc  to  persons  outside  of  the  state.  1942. 

As  evidence  of  the  dynamic  quality  of  teaching  aids  for 

Aeronautics  and  Weather,  the  author  had  to  insert  seven 

pages  of  addenda  in  the  introductory  section  because  that 

much  new  information  had  reached  her  when  the  material 

was    ready    for    press!    Therefore,    sources    of    periodicals, 

maps,  films  and  filmstrips,  etc.  are  given  in  two  sections  of 

the  bulletin, — in  the  supplement  (which  comes  first)  and  in 

the  main  section.  Much  valuable  information  on  this  very 

timely  subject  has  been  assembled  here  for  ready  reference. 

Bibliography  of  Aviation  Education  Materials — Catherine 
Cartwright  et  al.— The  Macmillan  Co.  1942.  139  p.  88c. 
This  annotated  list  of  books  and  visual  aids  for  the  use 
of  schools  and  libraries  was  prepared  with  the  Cooperation 
of  the  Civil  .Aeronautics  Administration  and  the  Institute 
of  the  Aeronautical  Sciences.  The  persons  who  worked  on 
the  bibliography  were  members  of  the  Aviation  Education 
Research  Group  at  Teachers  College,  Columbia  University. 
The  result  is  a  remarkably  useful  handbook  to  guide 
teachers  in  the  selection  and  purchase  of  teaching  aids. 
Annotations  are  written  with  the  teachers'  problems  in 
mind.  In  this  bibliography  are  listed:  A.  Books  (for  general 
information  and  for  special  study  of  various  phases  of  avia- 
tion, both  for  students  and  for  teachers);  B.  Magazines; 
C.  Free  and  Inexpensive  Materials;  D.  Maps,  Charts  and 
Globes;  E.  Radio  Scripts  and  Transcriptions;  and  F.  Films 
and   Filmstrips. 


March,   1945 


Page   107 


Particularly  timely . . . 


Crowded  living  conditions  breed  dirt,  diteose,  and  crime 


mam 


,99 


an  Eastman  Sound  Film 


EASTMAN  announces  a  new  motion  picture  sur- 
vey of  the  work  of  public  health  organizations 
...  an  appraisal  of  their  vital  importance  to  the  com- 
munity in  wartime. 

The  opening  sequence  illustrates  the  hazards  to 
public  health  which  exist  in  crowded  industrial  cen- 
ters. Succeeding  scenes  show  the  importance  of  the 
public  health  laboratory  and  the  trained  scientist. 
A  detailed  picture  of  the  examination  of  milk  for 
bacteria  graphically  demonstrates  the  value  of  their 
contributions.  Other  phases  of  the  work  included 
are  the  taking  of  milk  and  water  samples,  inspecting 
meat,  public  health  clinics,  and  the  isolation  of  com- 
municable diseases. 

The  closing  sequence  presents  a  community  in 
which  efficient  public  health  service  insures  careful 
selection  and  proper  handling  of  food,  healthful 
living  conditions,  happy  home  life,  and  supervised 
playgrounds.  1  reel,  16-millimeter,  sound — $36. 


Ear,  eye,  note,  and  throat  clinics  are  supported  by 
the  Boards  of  Health  of  numerous  communities 


A  laboratory  technician  using  the  microscope — on 
important  diagnostic  tool  in  public  health  service 


Write  Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N.  Y, 

Eastman  Classroom  Films 


Page    108 


The  Educational  Screen 


MOVIES 


•   16MM    SOUND    FEATURES  • 


"THIS  IS  THE 

EIVEMY!" 


Epic    drama    of    the    embattled    people    of    'conauered'    areas 
Jugoslavia,    Poland,     Ulcraine,    etc. 


"11^  THE  REAR  OF 

THE  E^EMY!" 


Powerful    sfory    of  -Russian    guerrillas    and    the 
Red    Army    in    action. 

ALSO 

HITCHOCKS    FAMOUS    THRILLER 

■■39     STEPS" 


BRnnnon  Hims 


1600  BROADWAY 
NEW  YORK  CITY 


School-Made  Motion  Pictures 

(Concluded  from  pa()c  100) 

shots,  calculation  of  footasc  and  the  liko.  Advise  a  con- 
centrated study  of  sections  of  manuals  such  as  those  pub- 
lished by  the  Amateur  Cinema  League  (list  furnislied  on 
request  addressed  to  them  at  420  Lexington  Avenue,  New 
York  City),  and  recommend  a  critical  pcru.sal  of  sample 
copies  of  magazines  on  amateur  jjliotography. 

8 — Devote  a  good  two  hours  to  testing  the  students  on 
various  general  and  specific  procedures,  requiring  them  to 
demonstrate  their  answers. 

9— Give  the  trainees  a  50-foot  roll  of  black  and  white 
film  and  all  the  necessary  equipment  for  a  week-end  of 
shooting,   with    the    instruction    to  "make    the    most  of   it." 

The  instruction  given  in  point  9  sounds  over-simple, 
perhaps,  but  if  your  "course"  has  been  really  effective,  it 
will  be  a  challenge.  The  result  will  indicate  how  well 
prepared  your  students  are.  If  they  have,  without  specific 
recommendation  from  you,  devised  some  thread  of  con- 
tinuity for  their  fifty  feet,  if  they  have  incorporated  various 
types  of  shots,  preferably  both  indoor  and  outdoor  scenes, 
if  the  exposure  and  focus  are  correct  in  most  of  them,  and 
the  pictures  steady  and  well  conceived,  you  have  nothing 
henceforth  to  worry  about.  But  until  this  stage  has 
been  reached,  you  cannot  turn  over  the  responsibilities  for 
production    to    the    students. 

Obviously,  the  degree  and  intensity  of  training  and 
practice  will  depend  on  the  students'  intelligence  and  apti- 
tudes, and  some  of  them  will  make  better  cameraiuen  and 
directors  tlian  others.  In  any  event,  you  will  have  provided 
a  real  educational  experience  to  the  two  or  tliree  persons 
involved,  and  you  may  rest  assured  that  they  will  pass  on 
much  of  their  knowledge  to  others  in  their  group.  They 
will  also  be  instilled  with  a  sense  of  resjionsibility  for  the 
results.  Thus,  by  concentrating  your  time  and  effort  in  a 
brief  period,  you  should  ultimately  be  almost  entirely  re- 
lieved for  a  long  period  in  the  future,  particularly  if  one  of 
the  students  you  train  is  a  junior  who  will  be  around 
next  year  to  break  in  a  successor  or  two. 

You  will  want  to  check  progress  and  results.  By  all 
means  see  the  "rushes,"  which  will  take  practically  no 
time,  but  will  give  a  conclusive  idea  of  what  is  going  on. 
You  will  also  want  to  be  available  for  consultation  before 
scenes  involving  special  problems  are  photographed.  You 
will  probably  want  to  reserve  your  judgment  and  advice 
until  it  is  sought  by  the  students.  By  the  time  tlie  picture 
is  ready  for  editing,  it  is  certain  that  you'll  have  no  dearth 
of  qualified  editors. 

Yes,  high  school  pupils  actuall}'  can  be  trained  to 
carry  out  a  film  production,  from  conception  to  completion. 
They  have  done  so  in  numerous  instances,  with  excellent 
results,  where  the   foundations  were  well  laid. 


Experimental  Research 

in  Audio-Visual  Education 

By  DAVID  GOODMAN,  Ph.D. 

Title:    THE    PRINCIPLES,    ORIGIN,    AND    EARLY 
DEVELOPMENT  OF  EDUCATIONAL  REALISM 
Investigator:  Louis  S.-vn-dford  Goodman 

For  the  degree  of  Doctor  of  Philosophy,  completed   1942 
— Boston    I'niversity   Graduate  School. 
Purpose  of  Study 

This  study  analyzed  the  principles  and  traced  the  origin 
and  early  development  of  educational  realism.  In  order  to 
accomplish  this  task,  it  was  neccs.sary  to  discover  the 
basic  tenets  underlying  the  "visual  education"  movement. 
The  investigation  endeavored  to  show  how  the  theoretical 
foundations  of  this  movement  arc  rooted  in  the  educational 
thought  which  attended  the  intellectual  awakening  of  the 
Renaissance  and  Reformation  periods. 
Analysis 

Ihe  function  of  education  is  one  of  creating,  clarifying, 
and  transmitting  experience.  Thus,  education  attempts  to 
guide  the  student  to  a  realistic  understanding  of  the  world. 
The  schools  of  today  need  to  recognize  more  fully  the  place 
of  recently  developed  materials  and  devices  in  communi- 
cating  experience  and   in   interpreting   modern    life. 

The  learning  situation  in  the  schools  embraces  three 
primary  factors:  1)  tlie  student,  2)  the  teaclier,  and  3)  the 
subject-matter.  Learning  is  the  result  of  appropriate  inter- 
action between  tliese  factors,  a  process  which  requires 
secondary  factors  to  act  as  catalytic  agents.  They  consist  of 
various  methods,  techniques,  devices,  and  materials  of  in- 
struction. Both  primary  and  secondary  factors  become  an 
intrinsic  part  of  the  total  educative  process. 

Closer  analysis  of  available  source  materials  for  learning 
reveals  two  extremes:  1)  experience  with  actual  things  or  in 
real  situations,  and  2)  verbal  transfer  of  such  experience. 
The  meaning  derived  from  language  symbols  is  dependent 
very  largely  upon  the  comparative  richness  of  sensory  ex- 
perience. All  the  senses  help  in  building  experience,  each 
new  iicrception  being  a  blend  of  past  and  present  exper- 
iences. .Acquiring  concepts  may  be  regarded  as  a  higher 
function  of  assimilating  many  sense  perceptions.  Meaning 
is  given  to  the  concept  through  interpretation  of  previous 
sensory  data  in  configural  patterns  which  function  for  the 
learner  as  a  unit.  Perception,  then,  is  viewed  as  a  funda- 
mental stage  in  the  process  of  learning.  The  term  per- 
ceptual aids  is  applied  in  this  study  to  the  many  types 
of  materials,  devices,  and  techniques  which  afford  basic 
sense  experiences  for  adequate  comprehension.  Modern 
educational  psychology  supports  this  viewpoint. 

.'\n  experience  in  school  life  may  range  from  personal 
participation  in  an  event  in  its  normal  setting  to  reading 
about  an  unfamiliar  situation  in  highly  compact  technical 
language.  Intermediate  rejiresentations  of  actual,  direct  ex- 
periences furnish  the  learner  with  a  meaningful  background. 
This  is  the  role  of  perceptual  aids,  each  and  every  type  of 
wliich  possess  a  degree  of  reality  for  the  percipient. 

Educational  realism  is  the  name  given  to  that  viewpoint 
which  regards  the  above  process  as  the  worthy  function 
of  the  school.  This  theory  stresses  the  need  of  bringing  the 
work  of  the  school  into  closer  contact  with  the  world  out- 
side. It  is  founded  upon  principles  which  bear  a  distinct  re- 
lationship to  the  ideas  of  certain  educational,  philosophical 
and  psychological  reformers  in  the  past.  In  so  far  as  the 
Revival  of  Learning  during  the  fifteenth  century  had  an 
effect  upon  the  development  of  educational  method,  it  did 
much  to  channelize  and  harden  school  procedures  into 
a  formula  of  literary  and  linguistic  routine.  By  the  time 
the  spokesmen  for  realism  were  able  to  make  them- 
selves heard  and  to  demonstrate  the  principles  of  their 
teachings  in  a  practical  way,  the  literary  tradition  in 
education    had    become       firmly   entrenched. 

It  is  not  improbable  that  the  exploration  of  the  earth, 
leading   to    further    study    of    the    material    world    through 


March,   194) 


Page    109 


Famed  "Dr.  Christian"  Features 
in  16  MM  Sound 

No  Location  Approval  Required! 

Titles  are: 

"MEET   DR.    CHRISTIAN" 

"COURAGEOUS    DR.   CHRISTIAN" 

"DR.    CHRISTIAN    MEETS    THE    WOMEN" 

"REMEDY    FOR    RICHES" 

"MELODY    FOR   THREE" 

"THEY    MEET   AGAIN" 

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tlic  physical  sciences,  iiiiglit  have  altered  the  complexion 
of  later  education  had  it  not  been  for  the  fact  that  the 
literatures  of  Greece  and  Rome  had  already  been  un- 
covered. A  vital  factor  in  spreading  and  making  secure 
the  stress  which  Humanists  placed  upon  classical  authori- 
ties was  the  invention  of  the  printing  press  about  the 
year  1440.  .'Xn  unhealthy  reverence  for  words  had  been 
created  by  the  barren  arguments  of  the  Scholastics,  for  which 
the  Renaissance  classicists  did  little  more  than  substitute  the 
fruitless  study  of  philology.  Literary  values  were  em- 
phasized almost  to  the  point  of  reverence  with  the  result 
that  the  schools  have  inherited  a  tradition  of  empty 
verbalism. 

'J"he  literary  spirit  of  the  si,\tecnth  century  prevailed 
over  "educated"  Europe  until  challenged  by  the  scientific 
spirit  of  the  following  century.  But  by  this  time,  however, 
the  school  curriculum  had  become  settled,  the  rapid  spread 
of  printing  and  the  increasing  use  of  the  mother-tongues 
helping  to  seal  its  fate.  The  critical  atmosphere  of  the 
Reformation  helped  to  crystallize  the  earlier  opinions  ex- 
pressed by  Roger  Bacon,  Telesio,  and  Campanella  regard- 
ing the  importance  of  observing  realities  through  the  senses. 
The  pioneers  of  educational  realism,  like  Vives,  Rabelais, 
Mulcaster.  Luther,  and  Montaigne,  helped  to  stir  up  op- 
position to  education  dominated  entirely  by  humanistic 
principles. 

The  transition  from  classical  humanism  to  educational 
realism  took  the  form  of  a  movement  attacking  |)urcly 
verbal  abstractions  to  a  deeper  concern  for  things  in  con- 
crete form.  It  was  Francis  Bacon  who  first  showed  the 
world  that  investigation  must  proceed  upwards  from 
observed  facts  instead  of  downward  from  arbitrary 
premises.  In  so  doing,  he  opened  a  vast  new  realm  for 
education  in  which  opportunities  for  dealing  with  real 
things  would  be  substituted  for  the  worthless  preoccupa- 
tion with  mere  words.  He  realized  that  instruments  other 
than  books  were  needed  to  aid  comprehension. 

Comenius  put  many  Baconian  jirinciplcs  into  educational 
form  by  reducing  the  essence  of  realism  to  a  classroom 
basis.  He  recognized  the  basic  role  of  sense  perception  in 
learning.  In  his  scheme  of  instruction,  language  was  al- 
ways to  go  hand  in  hand  with  reality,  words  being  taught 
with  and  through  things  because  they  symbolized  these 
same  things.  His  Orbis  Pictus  gave  the  first  real  impetus 
to  the   pictorial   method   of   presentation. 

The  first  attempt  to  formulate  a  theory  of  perception  as 
an  orderly  process  in  learning  was  made  by  Locke.  The 
empiricism  in  Locke's  teachings  led  him  to  proceed  on  the 
assumption  that  all  knowledge  came  through  the  senses 
acting  as  intermediaries  between  the  individual  and  the 
outside  world.  The  philo.sophy  of  Berkeley  adhered  closely 
to  sense  perception  as  the  basis  for  thinking.  In  his  view, 
the  process  of  perception  can  be  explained  only  in  terms 
of  what  is  actually  perceived.  Berkeley's  chief  contri- 
bution to  educational  realism  was  his  insistence  upon 
concrete  experience  as  a  means  of  delivering  us  from  de- 
ception of  words. 

Most   schools    in    the   seventeenth      century    were    little 


Page   110 


The  Educdtional  Screen 


BRING  WORLD  BATTLEFIELDS  to 
LIFE   in    YOUR    CLASSROOMS  .  . 


With  all  the  movinf;:  drama  of  "on  the 
spot"  reality.  Father  Hubbard's  "World 
War  11"  Sound  Films  add  lively  fascination 
to  classroom  studies  of  far-ofT  places  and 
peoples  in  the  news  today.  Authentic,  en- 
tertaininK.  stimulating.  Over  170  colorful 
subjects,  recorded  in  16  mm  Sound.  10,  12, 
30  and  45-minute  showings.  Low  Rental 
Rates. 


FATHER  HUBBARD  EDUCATIONAL  FILMS 

DepL  E.,  188  W.  Randolph  St.,  Chicago,  III.,  or  Santa  Clara,  Calif. 


disposed  toward  altering  their  aims  or  methods  of  in- 
struction to  make  room  for  realistic  principles.  There- 
fore, the  gap  between  school  work  and  what  went  on  out- 
side of  school  remained  wide.  This  situation  has  remained 
down  to  the  present  time,  despite  attempts  to  remedy  it. 
For  example,  three  centuries  ago,  a  small  circle  of  con- 
scientious educational  reformers  including  Milton,  Dury. 
Kinner  and  Petty,  with  Samuel  Hartlib  as  leader,  en- 
deavored to  establish  certain  realistic  tendencies  in  edu- 
cation in  England,  but  failed  in  their  efforts  to  break  the 
domination    of   a    strong    linguistic   tradition. 

Conclusion:  This  study  attempted  to  indicate  several 
implications  for  education: 

1)  Certain  forcsighted  educational  reformers  in  the  past 
have  sought  to  utilize  all  available  means  of  making  the 
educative  process  more  realistic.  In  comparison  with  the 
variety  of  instructional  aids  which  now  e.xist,  their  tools 
were  meager  indeed.  But  the  book,  then  as  now,  remains 
preeminent,  despite  recent  research  in  psychology  and  the 
development  of  newer  types  of  perceptual  aids,  such  as 
laboratory  apparatus,  still  pictures,  models,  exhibits,  stereo- 
graphs, slides,  phonographs,  silent  and  sound  motion 
pictures,  and  radio. 

2)  The  advent  of  the  printing  press  widened  the  in- 
tellectual horizon  immeasurably,  but,  at  the  same  time, 
narrowed  the  educational  task  to  the  scope  of  the  printed 
page. 

3)  What  man  has  learned  about  the  human  eye,  the 
voice,  and  the  ear  has  been  brought  to  bear  upon  the 
mechanical  aspect  of  life  through  such  inventions  as 
the  wireless,  the  phonograph,  the  motion  picture,  the  radio 
and  television.  These  instruments  have  the  attributes 
and  potentiality  of  changing  the  character  of  education 
as  radically  as  did  the  printing  press. 

4)  It  is  not  generally  or  clearly  understood  amongst 
educators  that  learning  difficulties  oftentimes  arise  due 
to  a  lack  of  concrete  experience.  The  use  of  represent- 
ations of  reality,  materials  which  may  range  from  models 
to  diagrams,  should  build  perceptual  experience  essential 
to  the  comprehension  of  abstractions.  If  verbalism  is  the 
result  of  abstractions  based  upon  an  inadequate  back- 
ground of  experience,  the  solution  of  this  particular  prob- 
lem would  seem  to  lie  in  the  provision  of  concrete  materials 
for  sense  perceptions  which  will  give  meaning  to  concepts. 

5)  The  term  verbalization  as  used  here  implies  the 
functional  growth  of  lajiguage.  Words  convey  rather  than 
embody  thought,  i.  e..  language  stimulates  the  formation  of 
ideas  but  does  not  impart  them  directly.  This  may  be 
regarded  as  the  proper  function  of  language.  The  fulfill- 
ment of  the  educative  process  requires  that  words  become 
instruments  of  conceptual  thinking  on  a  comparatively 
abstract  level.  The  caution  that  must  be  emphasized  con- 
tinually is  that  either  symbols  without  experience  or 
experience  without  vocabularj'  means  incomplete  learning. 
In  accordance  with  this  viewpoint,  then,  verbalism  is  the 
outcome  of  instruction  carried  on  at  an  abstract  level  while 
verbalization  is  the  attainment  of  meaningful  abstractions 
through  the  relatively  concrete  experiences  of  the  learner. 


Department  of  Visual  Instruction  Notes 

Change  in  Officers  for  Zone  IV 

Lee  W.  Cochran,  'Director  of  Bureau  of  Visual  In- 
struction, State  University  of  Iowa,  has  been  commis- 
sioned a  Lieutenant  in  the  U.  S.  Navy  Reserve 
and  is  .stationed  at  Fort  Schuyler,  New  York  City.  His 
duties  as  President  of  Zone  IV  have  been  taken  over 
by  the  first  vice-president,  Mr.  Alvin  B.  Roberts,  Prin- 
cipal. Haw  Creek  Township  High  .School,  Gilson, 
Illinois. 

Mr.  H.  L.  Kooser,  Director,  Vi.sual  Instruction 
Service,  Iowa  State  College,  Ames,  replaces  Donald 
McCavick  as  Secretary-Treasurer.  Mr.  McCavick  hav- 
ing accepted  a  position  in  the  Bureau  of  Visual  In- 
.st ruction  at  the  University  of  Texas. 

Metropolitan  New  York  Branch  Programs 

The  last  two  programs  in  the  series  on  "War  and  the 
Schools,"  arranged  by  the  New  York  Metropolitan 
Branch  of  the  D.  V.  I.,  under  the  chairmanship  of 
Charles  G.  Eichel,  was  gratifyingly  attended  by  hun- 
dreds of  teachers  from  the  New  York  City  area. 
■"  The  Jainiary  13th  meeting  was  devoted  to  "Our 
Allies,"  and  featured  a  talk  on  "Tolerance  and  De- 
mocracy" by  Dr.  Jacob  Greenberg.  Associate  Superin- 
tendent of  Schools,  New  York  City.  Films  shown  were 
Netherlands  America,  Our  Fighting  Allies  (Czecho- 
slovakia), The  Fighting  French  Navy,  Diary  oj  a 
Polish  Airman,  Tools  for  the  Job  (India),  One  Hun- 
dred Million  Women  (Russia),  Keeping  the  Fleet  at 
Sea  (Australia),  Listen  to  Britain,  Kiikan,  (China). 
The  United  Nations  Information  Office  cooperated  in 
the  organization  of  the  film  program. 

"Training  for  the  Emergency"  was  the  theme  of  the 
February  16th  program.  An  address  was  presented  by 
Dr.  C.  Frederick  Pertsch,  Administrator  in  Civilian 
Defense,  New  York  City  Board  of  Education.  The 
following  films  were  furnished  by  the  Office  of  War 
Training  Program,  the  New  York  State  War  Council: 
Map  Reading,  ABCD  oj  Health,  What  to  do  in  a  Gas 
Attack,  Dinner  at  School,  Shock  Troops  for  Defense, 
Fire  and  Under,  A  A^eiv  Fire  Bomb,  Fit  to  Fight  on 
All  Fronts. 

Appropriate  curriculum  material  was  prepared  for 
distribution  at  the  meetings  by  Esther  L.  Berg. 

News  of  Members 

•  Mr.  F.  L.  Lemler  has  been  granted  a  leave  of  ab- 
sence from  the  University  of  Michigan,  where  he  was 
in  charge  of  the  Bureau  of  Visual  Education,  to  work 
with  the  U.  S.  Office  of  Education. 

•  Mr.  R.  H.  Mount,  formerly  Director  of  Visual  In- 
struction at  Louisiana  Polytechnic  Institute,  is  now  a 
First  Lieutenant  in  the  Signal  Corps.  Lt.  Mount  is  in 
the  Film  Distribution  and  Utilization  Division  of  the 
Army  Pictorial  Service,  Chief  Signal  Office,  Washing- 
ton, b.  C. 

•  Milton  H.  Steinhauer,  formerly  of  State  Teachers 
College,  Millersville,  Pennsylvania,  is  now  a  Lieuten- 
ant in  the  Naval  Training  School  (Aviation  Main- 
tenance), Teacher  Training  Division,  Norman,  Okla. 


March,  1945 


Page   111 


Photo  courtesy  U.  S.  Merchant  Marine  Cadet  Basic  Schooi,  San  Mateo,  California,  shows 
Spencer  Model  VA  Delineascope  for  lantern  slide  and  opaque  projection. 


To  Man  the  Convoys 


Mcrchanr  ships  — of  critical  impor- 
tance in  the  logistics  of  war  —  must  be 
competently  manned  to  supply  the  far- 
flung  war  fronts  of  the  United  Nations 
with  adequate  tonnages  of  food,  guns, 
tanks,  planes  and  fuel.  More  than  1200 
major  ships  and  50,000  men  of  the  U.  S. 
Merchant  Marine  arc  carrying  on  a  task 
which  has  contributed  mightily  to  the 
successes  wc  arc  now  achieving. 

Each  week,  each  month,  sees  more 
ships   sliding  down  the  ways.    More 


men— thousands  of  them  —  must  be  re- 
cruited and  trained  .  .  .  quickly. 

The  visual  methods  pioneered  in  the 
schools  and  colleges  of  the  country  arc 
playing  an  important  part  in  expediting 
this  training. 


opencerLENs  company 

1  BUFFALO,  NEW  YORK 

SCIENTIFIC  INSTRUMENT  DIVISION  OF 

AMERICAN  OPTICAL  COMPANY 


Page   112 


The  Educational  Screen 


Now  Available  in  16  MM.  Sound  Film! 

"DR.  CHRISTIAN"  Features 

No  Advance  Approval  Necessary 

These  pictures  have  received  the  highest  rating  by 
the  National  Legion  of  Decency.  Available  on  long 
term  lease  and  rental  basis. 

COURAGEOUS    DR.   CHRISTIAN 

Jean     Urr/fholt,    Dorothu    Lovtt,    Robert     Baldwin 

The  kindly  dwtor  is  interestod  in  niovitiK  llie  disease- 
ridden  and  iinrxiverished  community  of  .s<iuatters'  town 
to  a  model  liouslnR  project.  Defeat  stalks  his  trail  till 
a  near  traKedy  awakens  the  cdmniunity.  ilimioi  aiitl 
i-omance    make    this    an    (mtstandins    picture. 

REMEDY    FOR    RICHES 

MEET  DR.    CHRISTIAN 

MELODY    FOR    THREE 

DR.    CHRISTIAN    MEETS   THE    WOMEN 

THEY    MEET    AGAIN 


One  Reel  16  mm.  Sound  Films  of  Unusual  Interest 
SWINGUET:  Arthur  Murray's  diinccrs  ik'iiiODstrate  swiiip 
versions  of  tour  of  tile   most   Jioruilar  folk  tlances, 

SUBMARINE  CIRCUS:  A  trick  circus  in  actlun  entirely  under 

water  at   Silver  Springs,  Floriila. 

TRANS-AMERICA:  Across  a  continent  by  iilane.  A  ]janorama 
of  tjie  industrial  Kast.  the  farm  areas,  and  the  West  Coast 
including   Olacier   National    Park. 


Send   for    Catalog    of    2500    Entertainment    and    Edu- 
cational    Subjects     available     for     rental     and     sale. 

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HEALTH  FILMS 

Timely  Educational 
Motion  Pictures 


VIM.  VIGOR  AND  VITAMINS 

Non-technical  information  on  safe,  easy  anri  inexpensive 
ways  of  inrliiiling  needed  vitamins  in  tlie  menu. 

IN  EVERY  DAY 

A  typical  day  in  the  life  of  a  model  American  boy. 
Stresses  proper  health  habits,  well-balanced  diet,  whole- 
some attitude  towards  work  and  play. 

VALUE  OF  A  SMILE 

Two  children  enlist  the  aid  of  their  family  dentisi  in 
school    assignment    on   study   of   mouth   health. 

THE  SMILES  HAVE  IT 

Mary  Jane  and  Tommy  learn  the  right  way  to  brush 
teeth,  and  the  importance  of  correct  diet  to  insure 
strong,  healthy  teeth.  Visit  to  zoo  emphasizes  what 
they   have   learned   from   the   dentist. 

SMALLPOX:  THE  EVER-PRESENT  MENACE 

Emphasizes  the  necessity  of  regular  vaccination  as  the 
only  sure  preventative  of  Smallpox. 

Each,   360   feet   16niin   sound.     Soles   price,  $40.00 

Send  for  descriptive  jolder.  and/or 
further  information. 

Finer  Films 

407  Westminster  Ave. 
LOS  ANGELES.  CALIF. 


United  Nations  Collaborate  on 
Distribution  of  Educational  Films 

In  order  to  facilitate  the  distribution  of  information 
on  different  United  Nations  in  the  L\.S.  the  govern- 
ments of  those  nations  founded  a  coordinating  Infor- 
mation Office.  The  name  of  this  organization  is  the 
L'nited  Nations  Information  Office,  in  the  heart  of  New 
^■ork.  610  Fifth  Avenue.  This  office  distributes  prees 
information,  photographs,  posters,  pamphlets  and  an- 
swers all  requests  for  information  on  the  United 
Nations. 

Tlie  United  Nations  Information  Office,  fonnerly 
known  as  the  Iiiter-.-\llied  liifortiiation  Center,  was 
first  established  in  September  1940,  as  a  clearing-house 
for  the  information  services  of  the  allied  nations  then  at 
war  with  the  Axis  iwwers.  In  August  1942.  following 
the  entry  of  the  United  States  into  the  war  and  the 
creation  of  the  Office  of  War  Information,  the  United 
States  became  a  member  of  the  Committee  which  con- 
trolled the  Center.  Member.shi]i  (jf  tlie  Coinmittee 
gradually  increased,  and  by  December  1942.  19  gov- 
ernments and  associated  jiowers  were  participating  in 
the  wf)rk. 

The  Utiited  Nations  Office  coordinates,  prepares  and 
makes  available  material  from  United  Nations  sources 
for  rach'o,  hints,  pliotographs.  exhibits,  press  and  other 
information  media  for  the  following  countries:  Aus- 
Tk.\Li,\.  Belgium,  Canada,  China,  Czechoslovakia, 
Fki;i-;  Dicnmark.  Fichting  Franck,  Great  Britain, 
Creece.  Inoia,  Luxembourg,  Netherlands,  New 
Zealand,  Norway,  Philippines,  Poland.  Union  of 
South  Africa.  United  States  of  America,  Yugo- 
slavia, and  collaboration  oti  distrilnition  of  information 
about  U.S.S.R. 

One  of  the  very  imi)ortant  activities  of  the  United 
Nations  Infonnation  Office  is  collaboration  on  distribu- 
tion of  documentary  and  educational  films.  The  Film 
Section  of  this  office  receives  requests  frotii  schools 
and  educational  orgatiizations  from  all  over  the  United 
States  for  films.  Although  the  United  Nations  Infor- 
mation Office  does  not  ship  films  directly  it  coordinates 
the  activities  of  the  film  sections  of  the  various  national 
services.  \\'henever  a  film  program  about  several  or 
all  the  United  Nations  is  being  planned,  inquirers  may 
contact  the  United  Nations  Informatioti  Office  which 
will  see  that  the  films  arrive  for  the  program.  .A  new 
edition  of  a  catalog  of  filtns  on  the  United  Nations  avail- 
able in  the  United  States  will  be  issued  at  the  beginning 
of  April  and  will  be  mailed  upon  request. 

British  Films  Reach  Varied  Audiences 

An  audience  of  more  than  twelve  million  has  at- 
tended film  showings  arranged  throughout  the  British 
Isles  by  the  Ministry  of  Information  during  the  year 
August  1941  to  September  1942, 

Almost  seven  million  of  the.se  people  were  shown 
films  by  means  of  the  "Celluloid  Circus,"  the  Ministry 
of  Information's  130  mobile  film  units,  most  of  them 
equipped  for  16  mm.  films,  a  few  for  35  mm.  These 
vans  drive  round  the  country,   set   up  and  give  their 


March,   1943 


Page   113 


Afot 


-E± 


])rograms  in  villages  and  small  towns,  to  Women's  In- 
stitutes and  social  clubs,  in  barns  or  churches,  to  fac- 
tory workers  in  their  canteens  during  lunchtime  or  mid- 
night breaks,  to  seamen  and  dockers'  clubs  along  the 
waterfronts.  The  programs  usually  last  from  80  to 
90  minutes,  and  are  made  up  of  films  of  general  interest 
and  instruction,  training  films  for  civil  defense  workers 
and  fire  guards,  films  to  show  factory  workers  how 
vital  a  part  they  play  in  the  problems  of  war,  films  for 
farmers,  for  amateur  gardeners,  films  on  blood  trans- 
fusion, accident  prevention  and  the  need  to  keej) 
healthy  in  the  stress  of  war,  films  about  the  men  and 
women  in  all  the  fighting  services  on  every  war  front, 
the  British  and  the  other  United  Nations  too. 

Another  million  of  the  audience  has  been  reached  by 
special  showings  arranged  in  movie  theatres  out  of 
ordinary  hours.  These  cinemas  have  often  been  lent 
free  of  charge.  The  programs  frequently  showed 
training  films  to  Civil  Defense  audiences,  or  were  tied 
up  with  special  campaigns  launched  by  the  Ministries 
of  Labor  or  Health.  Agriculture  or  Food. 

The  third  method  of  reaching  this  audience  has  been 
through  the  free  lending  of  films  by  the  London  Cen- 
tral Film  Library,  the  Scottish  and  South  West  of  Eng- 
•land  Film  Libraries.  With  a  supply  of  750  diflFerent 
films,  these  lil)raries  took  care  of  48,000  bookings  dur- 
ing the  year — an  increase  of  more  than  200%  over  the 
])revious  year — lending  to  1300  organizations  and  indi- 
viduals with  their  own  projectors.  The  average  audi- 
ence at  these  showings  was  approximately  100  people. 

Pan  American  Day  Materials 
Stress  Wartime  Role  of  Repiiblics 

The  successive  steps  taken  by  the  American  Republics 
with  relation  to  the  war,  and  the  indispensable  mineral 
and  agricultural  products  which  the  nations  of  the  New- 
World  are  pouring  into  the  conflict,  highlight  the  ma- 
terial in  the  special  Pan  American  Day  publications 
prepared  by  the  Pan  American  Union  for  distribution 
to  schools,  clubs,  civic  and  other  organizations  making 
platis  for  the  annual  continent-wide  celebration  on 
.April  14th. 

An  over-all  ])icture  of  the  American  Republics,  in- 
cluding geography,  liistory  and  principal  products,  is 
portrayed  liy  the  "Know  Your  Neighbor"  series  of 
articles  on  each  of  the  rejiublics,  one  of  the  features 
compiled  for  Pan  American  Day.  "The  Americas  in  a 
\Vorld  at  \\'ar"  traces  the  successive  steps  taken  by 
the  nations  of  America  at  the  Meetings  of  Foreign 
Ministers  and  at  other  technical  conferences,  resulting 
in  declarations  of  war,  severances  of  diplomatic  rela- 
tions and  general  political,  economic  and  military  col- 
lalKjration. 

Plays,  ])ageants.  (luestions  and  answers,  radio  pro- 
grams and  fither  features  centered  about  the  Republics 
nf  America  have  been  prepared  for  the  occasion. 
Because  of  the  limited  supply,  the  material  can  be  sent 
only  to  teachers  and  group  leaders,  and  only  one  copy 
of  each  item  to  an  indivi<lual.  A  list  of  the  material 
available  for  di.stribution  this  year  will  be  sent  upon 


'^•'-,., 


^•J'. 


RIB. 

rcHi 


jj::^ 


s:i 


1^^, 


The  Way  Fabric 

Covering  Is  Sewed 

On  Airplanes 

THI  PICTUREi  This  picture 
gives  visual  instruction 
and  a  voice  explanation 
of  how  fabric  is  laced  or 
stitched  on  airplane 
wings.  Beginning  with 
the  correct  position  of 
the  wing  to  be  covered, 
the  picture  shows  how  to 
use  the  stitching  needles, 
how  to  tie  the  knots 
used  in  stitching,  where 
the  stitching  begins  and 
the  procedure  followed 
in  completing  the  job. 
It  shows  how  the  stitch- 
ing cords  are  spliced. 
Any  student  looking  at 
this  picture  will  have  a 
thorough  understanding 
of  how  airplane  wings 
are  covered  with  fabric. 
SCOPb  For  students 
studying  airplane  con- 
struction in  high  schools, 
ground  schools,  aviation 
schools  and  manufactur- 
ing plants. 
USIi 

1.  In  SCHOOLS  where 
courses  in  airplane 
construction    are 

riven, 
n  MANUFACTUR- 
ING PLANTS  where 
new  workmen  are 
trained. 

3.  In  VOCATIONAL 
GUIDANCE  courses 
to  illustrate  this 
special  task. 

4.  In  all  GROUND 
SCHOOLS. 

•PRICES  $66,f.o.b.  Detroit; 
LENGTH:  Two  reels, 
sound,  16  mm,  safety 
stock. 

*Price  subject  to  change 

without  notice 

Writ*  for  eairplmta  cota/og  or<«« 

on  Authorhad  VitualAid$  Dmalar 


The  JAM  HANDY  Organizatioa 


NEW  YORK 
CHICAGO      . 


DETROIT 
DAYTON 


LOS  ANGELES 
WASHINGTON 


Page   114 


The  Educational  Screen 


M.^^^ 


Approved 
PRE-FLIGHT, 

TRAINING  FILMS 

valuable  visual  teaching  aids 
now  ready  for  your  school 

FOR   AUDITOmUM   SHOWINGS   


YOUTH  TAKES  TO  WINGS 

Produced  wtfh  tht  Cooptrat'ion  of 

THE  FRANKLIN  INSTITUTE,  PHILA.,  PA. 

indorsed   and  Approved   hy 

NATIONAL  AERONAUTIC  ASSOCIATION 

ixhibited  by  represenfafrVei   of  fhe 

CIVIL  AERONAUTICS  ADMINISTRATION 

at  the  Educational  Convenliont  where  the  Pre-Ftight 
Training  Courses  were  planned 


FOR   CLASSROOM   USE 


14  PRE-FLIGHT  TRAINING  FILMS 

especially  produced  for  use  as  Visual  Aids  in 

the    Pre-Flight  Courses   now  offered    by   the 

Secondary    Schools. 

Wr/fe  for  deser/pt/ve  folders  and  prices  to 

BR  AY  PICTURES  CORP.  | 

729  SIVENTH  AVENUE,  NEW  YORK 


'^iSii 


NEW! 


KODACHROME 
SLIDES 

PluladelpJUa 

Beautiful    3Smm.     Koda- 

chromes     in     Readymounts 

of    Independence    Hall, 

interior    views    of    the 

Declaration      Chamber      and      Liberty      Bell, 

Betsy    Ross    House     (exterior    and    interior). 

Carpenters  Hall,  and  others.    50  cents  each. 

Send  for  free  list. 


KLEIN   &  GOODMAN 

18    S.    10th    Street.    Philadelphia.    Pa. 


SELECTED 
U  MM  Sound  Programs.     Low 

Send  for  VICTORY  BULLETIN 

W«  al»  »ll  and   exchange  8  mm   and    16   mm    Comedies,   N 
Sports  Films.     Ask  (or  Catalog. 

BETTER      FILMS 

742A    NEW    LOTS    AVE..    BROOKLYN.    NEW 

Rentals 

ews.    Religious   and 
YORK 

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WITH  your  quickly 

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1 

MAKE  YOUR  OWN 

TYPEWRITER    SLIDES 

For  Screen  Projectien 

USE       RADIO       MATS 

on    sale    by    Theatre    Supply   Dealers 
Write  for  Free  Sample 

RADIO-MAT  SLIDE  CO.,  Inc. 

222  Oakridse  Blvd.,D«TtoiiaB«>ch,FU. 


request  addressed  to  the  Pan  American  Union,  Wash- 
ington, D.C. 

(The  use  of  the  16mm  sound  motion  picture  fihns  on 
Latin  America  offered  by  the  Motion  Picture  Divi- 
sion, Coordinator  of  Inter-American  Affairs,  444  Madi- 
son Avenue,  New  York  City,  would  add  greatly  to  the 
interest  and  effectiveness  of  Pan  American  programs. 
These  films  are  distributed  by  the  University  Extension 
Libraries  in  the  various  states,  as  well  as  by  many  com- 
mercial film  libraries.     Apply  to  the  nearest.) 

Indiana  War  Film  Program 

At  a  Conference  on  February  5th,  representatives 
of  four  educational  institutions  and  the  Indiana  Defense 
Council  met  to  organize  an  Indiana  War  Films  Council. 
Members  of  this  Council  are :  L.  C.  Larson  ( Indiana 
University),  Chairman;  Lloyd  Miller  (Purdue  Univer- 
sity) ;  Evelyn  Hoke  (Ball  State  Teachers  College)  ; 
V.  L.  Tatlock  (Indiana  State  Teachers  College)  ;  and 
N.  M.  Goudy  (Indiana  Defen.se  Council). 

The  following  recommendations  were  approved  : 

The  Indiana  War  Films  Council  is  to  assume  responsi- 
bility for  coordinating  and  e.xpediting  the  use  ol  audio- 
visual aids  in  OCD  programs. 

Films  allocated  to  the  State  OCD  Council  will  be  re- 
allocated by  the  War  Films  Council  to  the  four  state 
institutions,  with  the  exception  of  a  limited  numljer  of 
prints  of  each  subject  that  are  to  be  retained  for  use  by 
the  State  OCD  training  staff. 

Films  purchased  by  the  State  OCD  Council  will  l)e  placed 
on  deposit  with  the  four  state  institutions. 

The  four  state  institutions  will  make  the  regular  estab- 
lished service  charge,  for  government  films,  of  SO  cents  for 
the  first  subject,  and  25  cents  for  each  additional  subject 
booked  for  the  same  shipment. 

The  four  state  institutions  will  also  purchase  within 
the  limitations  of  their  budgets,  films  suitable  for  training 
and  informational  programs,  which  will  be  made  available 
under  the  customary  rentals  and  enrollment  plans  of  each 
institution. 

All  announcements  and  publicity  prepared  by  the  Indiana 
War  Films  Council  covering  the  selection,  distribution,  and 
utilization  of  films  suitable  for  OCD  programs  will  be 
handled  by  the  Publications  Department  of  the  State  Office 
of  Civilian  Defense  Council. 

The  four  state  institutions  will  cooperate  in  the  prepara- 
tion of  discussion  guides  and  other  types  of  materials  which 
will  contribute  to  a  better  utilization  of  audio-visual  aids 
for  training  and  informational  purposes. 

ANFA  Hold  Open  Meeting 

Paul  Reed,  Director  of  the  OWI  Alotion  Picture 
Bureau,  Educational  Division,  was  the  guest  speaker 
at  the  March  10th  meeting  of  the  .Mlied  Non-Theatrical 
Film  .Association,  in  New  York  City.  His  talk  on  I6mm 
production  and  the  OWI  film  distriliution  program  was 
considered  so  important  to  the  Industry  as  a  whole 
that  the  Board  of  Directors  of  the  Association  declared 
this  meeting  open  to  both  members  and  non-members. 

This  is  one  of  many  services  constantly  being  per- 
formed in  the  interest  of  the  16mm  Industry  by  ANF.-^. 


March,  1943 


Page   115 


SLIDES 
35  mm. 
FILM 

Wi 

VISUAL 

General  Science 

Principles  of  Physics 

.11  rolls 
...  7  rolls 
..  8  rolls 
..  8  rolls 

New  York 

Principles  of  Chemistry 

Fundamentals  of  Biology 

ite  ior  Folder  and  Free  Sample  Strip 

SCIEIVCES,  f^\  Suffern, 

Though  still  a  comparatively  young  organization,  the 
Association  has  already  accomplished  much  for  the  good 
of  its  members.  .And  AN  FA  has  not  been  confining 
this  work  exclusively  to  business.  Extra-curricular 
activities,  such  as  the  drive  for  funds  for  the  Red  Cross 
now  Ijeing  pressed,  are  also  engaged  in. 

To  make  possible  even  greater  accomplishments, 
AXFA  has  started  a  drive  for  new  members.  This 
drive  is  under  the  supervision  of  Horace  O.  Jones. 
Chairman,  Tom  Brandon,  Jerome  Cohen  and  Mary 
Sullivan. 

Industrial  Training  Films  in  Production 

The  U.  S.  Office  of  Education  through  the  procure- 
ment division  of  the  Treasury  has  contracted  for  the 
pro<hiction  of  105  visual  aid  sets  for  its  vocational 
training  program,  each  set  to  consist  of  one  sound 
motion  picture,  a  sound  film  strip  and  5,000  copies  of 
an  illustrated  instructor's  manual.  The  films  will  he 
along  the  same  lines  as  last  year's  48  subjects,  including 
machine  shop  practice  and  shipbuilding.  In  addition, 
how-ever,  films  will  be  produced  on  airplane  manu- 
facturing operations  and  the  making  of  optical  glass. 

The  fourteen  film  producing  companies  which  have 
been  awarded  the  contracts  are :  Atlas  Educational  Film 
Company,  Oak  Park,  111. ;  Bray  Studios,  New  York ; 
Calvin  Company,  Kansas  City ;  Defrenes  &  Company. 
Philadelphia ;  Jam  Handy,  Detroit ;  Har  Films,  Inc., 
New  Orleans ;  Hugh  Harmon  Productions,  Beverly 
Hills,  Cal. ;  Jamison  Film  Laboratories.  Dallas ;  Medi- 
cal Film  Guild,  New  York ;  Photo  &  Sound,  Inc.  San 
Francisco ;  RCM  Productions,  Hollywood ;  Kay-Bell 
Film  Company.  St.  Paul ;  Sjwt  Film  Productions,  New 
York ;  Emerson  Yorke  Studios,  New  York.  A  total 
expenditure  of  approximately  $550,000  is  involved. 

.According  to  a  recent  survey,  conducted  by  the 
Management  Research  Division  of  the  National  Indus- 
trial Conference  Board,  25  to  50^/c  greater  understand- 
ing of  the  subject  matter  resulted  after  war  workers 
had  seen  the  Office  of  Education  training  films.  Of  the 
2,^9  companies  reporting  in  this  survey,  more  than  half 
stated  they  would  continue  the  use  of  these  trainin.G; 
films  after  the  war. 


The  Film  and  International  Understanding 

(Concluded  from  page  102) 

series  every  four  weeks.  Among  other  subjects  in  the 
series  are  Medicine  At  War  and  Boonitozvii,  D.C. 

The  first  of  the  series  to  be  released  in  England  is 
Women  In  .Inns,  with  the  fir.st  run  scheduled  for 
London  in  March. 

There  is  some  possibility  that  this  series  may  be 
made  available  in  16mm  for  morale  agencies  which 
have  only  that  equipment  available. 


Whether  you  seek 
EDUCATION  or  ENTERTAINMENT 

you  will  find  that 
the  VISUAL  way  is  the  BEST  way! 

I NCREASE  your  knowledge  of  world  affairs 
and  home  affairs;  enjoy  fhe  thrills  of  your  favorHe 
sport  in  season  and  out  of  season;  "See  America" 
and  travel  to  the  four  corners  of  the  world;  ...  or 
see  Hollywood's  greatest  stars  in  their  greatest 
pictures,  just  as  they  are  shown  on  the  screens  of 
America's  theatres! 

Here  are  some  of  the  outstanding  dramatic, 
musical,  and  comedy  successes  of  the  year,  pro- 
nounced  by  the  leading   motion  picture  critics  as 

"Pictures  You  Must  Not  Miss!" 


ABBOTT  &  COSTELLO 

— th«  comedy  team  voted  by  the 
nation's  picture  fans  as  the 
Number  I  Attraction  ...  in  two 
of   their    funniest    pictures — 

"KEEP  'EM  FLYING" 

— a  story  of  the  two  nit-wits  who 
get  tangled  up  with  the  air 
corps,  bringing  to  the  screen 
some  of  the  most  thrilling  and 
spectacular  air  shots  ever  filmed 
and — 

"RIDE  'EM  COWBOY" 

— a  picture  which  puts  these  ace 
comedians  on  horses,  but  can't 
keep  'em  there.  A  hilarious 
comedy  featuring  an  all  star 
cast   of    Hollywood    beauties. 

"WHAPS  COOKIN' " 

Here  is  one  of  the  liveliest  musi- 
cal comedies  of  the  yar,  with 
an  alt  star  cast,  featuring  the  de- 
liqhtful  little  sonc|-brd  GLORIA 
JEAN.  It's  one  for  the  hep-cats 
— young   and   old. 

Deanna  Durbin 

Charles  Laughton 

in  "IT  STARTED  WITH  EVE" 

Two  great  stars  in  one  of  the 
finest   comedies   of   the   year. 

"BROADWAY" 

George  Raft  at  his  best  ...  in 
the  role  of  a  Broadway  hoofer 
during  the  prohibition  days.  Ac- 
tion,   pathos   and    romance. 


"BUTCH  MINDS  THE  BABY" 

The  delightful  Damon  Runyon 
story  put  on  the  screen  with  Brod 
Crawford  as  Butch.  The  critics 
call    this    a     "must'    picture. 

"THE  SPOILERS" 

Here  is  the  picture  that  made 
motion  picture  history  with  the 
dramatic  fight  between  John 
Wayne  and  Randolph  Scott.  Mar- 
lene    Dietrich    is   also   starred. 

"SABOTEUR" 

Here  is  Alfred  Hitchcock,  master 
of  suspense,  at  his  best.  It  is  a 
story  of  what  could  be  happen- 
ing in  your  town  today. 

Burma  Convoy 
Flying  Cadets— Road  Aeont 

Three  action-adventure  pictures 
with  top  flight  stars,  each  of 
which  is  guaranteed  to  provide 
you  and  your  friends  with  a  glori- 
ous evening  of  entertainment. 

We  are  also  proud  to  make 
available  to  you  at  this  time, 
two   feature   productions. 

"CAVALCADE  OF  AVIATION" 
"MENACE  of  the  RISING  SUN" 

These  two  featurettes  were  actually 
billed  as  features  in  the  finest 
theatres  of  America.  They  are 
timely,  thrilling,  spectacular  and 
authentic. 


UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


Page   116 


The  Educational  Screen 


(^uxxEnt  ^jiLm  c^A/soji 


"The  Man  at  the  Gate" 

We  may  thank  the  British  for  pro- 
ducing this  fine  piece  of  pictorial  realism 
and  Ideal  Pictures  Corporation  for  bring- 
ing it  within  reach  of  American  com- 
munities throughout  tlic  country.  "The 
Man  at  the  Gate"  is  an  intimate  saga  of 
life  in  a  coastal  fishing  village.  It  is 
compelling,  intensely  human  drama, 
notably  well-acted  and  with  expertly 
written  dialogue.  The  pictnre  is  a 
dramatic  blend  of  humble  living,  mean- 
ingful religion,  psychologic  struggle, 
and  heroic  action.  The  fine  cast  gives 
its  professional  best  to  memorable 
scenes  and  unforgettable  characters  in 
a  Biitish  sea-coast  village  that  lives  and 
breathes. 

The  Foley  family  personifies  the  best 
fishing-tradition  of  the  English  coast, 
as  salty  as  the  sea,  as  sturdy  as  its 
storms,  and  inured  to  the  tragedy  that 
inevitably  strikes,  at  times,  those  who 
go  down  to  the  sea  in  shijjs.  Mother 
Foley  has  watched  for  years,  from  her 
cottage  windows,  the  .goings  and  com- 
ings of  the  ships  in  the  harbor.  Twice 
a  son  of  hers  did  not  come  back,  leav- 
ing only  the  last  of  her  three  boys 
whom  she  fondly  ho|)es  to  see  married 
to    his    village    fiancee    and    busy    at    his 


adored  radio  work  ashore.  Father 
Foley,  bronzed  and  wrinkled  veteran, 
still  carries  on  his  fishing,  until  his 
wife's  entreaties  after  a  nearly  fatal 
trip  forces  liis  decision  to  leave  the  sea 
once  and  for  all.  Mother  Foley  is  radi- 
ant with  hope  of  having  husband  and 
son  at  home  at  last — ^but  the  World 
War  breaks!  It  calls  first  the  son, 
tlien  the  father,  to  sea  again.  A  Foley 
could  not  do  otherwise  at  England's 
need.  Soon  the  son  is  reported  "miss- 
ing.'' Brooding  over  her  past  years  of 
tragedy,  and  seeing  her  new  dreams 
now  suddenly  blasted,  Mother  Foley 
fights  bitterly  to  hold  her  husband  at 
home.  But  the  staunch  old  seafarer, 
devoted  to  his  beloved  wife  but  still 
more  to  the  high  traditions  of  the 
Foley  name,  says :  "I  wish  I  could  go 
with  your  blessing,  darlin',  but  go  I 
will."  How  the  mother's  bitterness  is 
overcome,  her  heart  changed,  her  bless- 
ing given,  her  missiiig  son  returned, 
how  the  Foley  family  glimpses  happi- 
ness ahead  at  last,  form  a  heart-warm- 
ing climax  to  a  genuine,  impressive  and 
delightful  picture,  (Available  from 
Ideal  Pictures  Corporation,  28  East  8th 
St.,  Chicago,  or  from  its  branches,  five 
reels,  16  mm,  sound.)  iV.  L.  G. 


Scenes     from 

the      feature, 

"The  Man  at 

the    Gate." 


'"^V 

^       ,^^: 

\ 

PROTECT    FILMS 


VAP.O^RATE 

ASK  TOUR  DEALER  OR  PHOTOFINISHER 
VAPORATECO..  INC.*  BELL  «  HOWELL  CO 
i30Wnt4Sth8t  1801  Lwthntiit.  CtilMW 
NewYork.  N.Y.        7I6N.  Labrta.  Hollywood 


AGAINST 
CLIMATE 
SCRATCH-. 
ES  STAINS 
FINGER- 
MARKS-THE 
WAY  THE 
U.  S.  GOV- 
ERNMENT 
AND  THE 
1  0  L  L  Y  - 
,*00D  PRO- 
DUCEB5D0 


■  Okficf.  ok  War  Inform.\tion,  Bureau 
of  Motion  Pictures,  Washington,  D.  C, 
announces  the  availability  of  several 
new  government  motion  pictures  in- 
cluding: 

Japanese  Relocation  —  10  minutes — 
tlie  story  of  how  the  War  Relocation 
Authority  and  the  United  States  .Vrmy 
liandled  the  mass  migration  of  more 
than  100,000  Japanese  from  the  critical 
Pacific  Coast  region  to  inland  settle- 
ments in  Arizona,  Colorado,  Utah  and 
Wyoming.  The  picture  is  a  living  rec- 
ord of  wartime  democracy. 

The  Thousand  Days — 20  minutes — a 
summary  of  the  changes  which  have 
taken  place  in  Canada  in  the  thousand 
days  from  1939  to  1942.  The  film  gives 
-Americans  a  better  understandin.g  of 
Canada's  achievements  and  a  deeper 
appreciation  of  the  Canadian  people  in 
their  fight  gainst  our  common  enemy. 

The  World  at  War — 45  minutes — a 
feature  length  picture  which  unfolds 
the  history  of  the  current  conflict,  from 
the  invasion  of  Manchuria  in  1931,  to 
the  bombing  of  Pearl  Harbor  ten  years 
later.  It  is  an  official  historical  docu- 
ment  of   i>ermanent    significance. 

Dover  —  10  minutes  —  showing  how 
Britain's  front  line  on  the  Channel 
coast  prepares  for  the  offensive  to 
come. 

These  films,  and  many  other  OWI 
films,  may  be  obtained  for  non-theatri- 
cal use  from  more  than  175  distributors 
of  16niin  films.  For  a  list  of  these  dis- 
tributors write  the  Bureau  of  Motion 
Pictures,  OWI,  Washington. 

■  Bettkk  Films,  742  New  Lots  Ave.. 
Brooklyn,  N.  Y.,  is  distributing  at  a 
low  service  charge  the  following  timely 
16mm  sound  films: 

The  World  at  War— 4  reels 
Target  for  Tonight — 5  reels 
Wings  of  Gold — 2  reels 
Listen  to  Britain — -2  reels 

■  The  Princeton  Film  Center,  Prince- 
ton, N.  J.,  has  produced  a  16mm  sound 
film  for  use  in  pre-flight  aviation  train- 
in.g  programs,  entitled: 

Fairchild  PT-19  Trainer— 3  reels, 
color.  The  film  shows  the  need  for 
and  value  of  a  training  airplane  with 
the  flying  characteristics  of  the  tactical 
aircraft  that  student  pilots  will  fly  after 
induction  into  the  Air  Forces.  All 
training  centers  now  giving  aircraft 
instruction  are  eligible  to  use  the 
film  upon  application.  .A  nominal 
service  fee  is  charged. 

{CoittiiiKi'd  on  f>a!H'   ilS) 


March,  1943 


Page   117 


On  the  screen.  //  Started  with  Eve 
A  Universal  Production 


Filmo  Cameras  and  Filmosound  Projectors  are  on  the  battle  fronts 


We  wish  we  could  say  to  you  that  our  visual  education 
dealers  can  supply  your  school  promptly  with  any 
Filmo  motion  picture  camera  or  projector  you  might 
need.  But  we  can't  say  that — because  Filmo  Cameras 
and  Projectors  have  gone  to  war  .  .  .  Uncle  Sam  has 
urgent  need  for  all  we  can  make.  They  are  being  used 
in  training  camps  and  on  the  battle  fronts — to  provide 
the  training  that  helps  save  American  lives  in  battle, 
the  entertainment  that  keeps  men  fit  for  the  fight. 

We  know  that  you  agree  with  us  that  this  job  comes 
first.  So  we  ask  your  patience — and  a  "rain  check." 
When  Filmo  Cameras  and  Projectors  are  back  in 
civilian  clothes — we  promise  worth-while  develop- 
ments— well  worth  >vaiting  for. 


Keep  Your  School  Projector  Busy 
Show  More  Educational  Films 

Never  before  has  the  Filmosound  Library  offered  so  many 
timely  films — for  rental  or  for  sale.  Have  you  a  catalog  of 
the  more  than  3000  select  subjects  offered  by  this  one, 
all-inclusive  source.'  If  not,  mail  the  coupon — and  keep 
your  school  projector  busy.  It  can  perform  a  service  vital 
to  America's  war  effort. 


CAUTION  I 

Don't  throw  away  old  projection  lamps.  A  new  lamp  can 
be  supplied  you  only  when  the  burned-out  lamp  is  turned  in. 


"£"  rOR  BXCEUtNCe.. .  how  the  Army-Navy  Award  for 
extraordinary  performance  is  woa  and  presented  is  shown 
by  this  one-reel  sound  film.  Service  charge  50c. 
BUY  WAR  BONDS 

Bell  &  Howell  Co.,  Chicago;  New  York;  Hollywood;  Washington,  D.  C;  London.  Est.  1907. 

MOTION       PICTURE       CAMERAS       AND       PROJECTORS 


PRECISION-MADE    BY 


BELL  &  HOWELL  CO. 

1817  Larchmont  Ave.,  Chicago.  lU. 

Without  obligation,  please  send  me: 

(  )  Filmosound  Library  Cataloft  Supplement  1943A  lUtlnft 

prelnduction  and  other  training  Alms. 
(  )  l>ata  on  Emerftency  First  Aid  Alms. 
(  )  Cataloii  of  British  Information  Service  films. 
(.  )  Educational  film  cataloft< 
(  )  Recreational  ftlm  catalog. 

I  now  have have  not your  1942  film  catalogs. 

Name 

Address 


City. 


. State . 


•  ES3-43 


Page   118 


The  Educational  Screen 


Below — West  Point  activities  portrayed  in  the  Castle  film. 


"West  Point- 
Symbol  of  Our  Army" 

This  is  a  meaningful  and  accurate  title 
for  a  one-reel  16  mm  film  recently  made 
and  released  by  Castle  Films,  with  the 
full  cooperation  of  the  Academy  author- 
ities. Of  the  finished  picture  Col.  Meade 
Wildrick  had  this  to  say !  "Today,  with 
millions  of  Americans  serving  in  our 
armed  forces,  the  training  and  philosophy 
of  the  leaders  of  our  Army  are  matters 
of  first  importance  and  vital  concern  to 
the  entire  nation.  This  film  represents  a 
thoroughly  up-to-date,  fast-moving  pictor- 
ial review  of  a  West  Pointer  in  the  mak- 
ing." 

West  Point  has  always  been  a  synonym 
for  efficient  training,  but  its  activities  in 


these  war  times  show  added  tension  and 
concentration  aimed  at  putting  and  keep- 
ing the  Academy  in  high  gear  for  the 
task  ahead.  We  see  the  cadets  at  work 
in  classrooms,  laboratories,  machine  shops, 
at  drawing  boards  and  relief-maps  of 
terrains — then  in  the  field,  putting  into 
practice  actual  river-crossing,  bridge- 
building,  plane  flying,  troop  maneuvers 
under  bomb  and  gunfire  conditions  ac- 
curately simulating  the  war  experience 
that  awaits  them  all.  And  the  film  is  still 
able  to  present  the  Academy's  routine  of 
living,  the  famous  grounds,  the  color  and 
glamour  of  the  West  Point  that  gave  us 
Grant,  Lee,  Sherman,  Pershing  and  Mac- 
Arthur — and  will  still  give  us  more  great 
ones  as  they  are  needed.  (Available  in 
sound  or  silent  versions  from  Castle 
Films  Inc.,  30  Rockefeller  Plaza,  New 
York  City,  or  from  visual  dealers 
throughout  tlic  country.)  N.  L.  G. 

■  The  Y.  M.  C.  A.  Motion  Picture 
Bure.au,  347  Madison  Avenue,  New  York 
City,  is  now  distributing  in  16  mm  sound : 

Land  of  Liberty— 8  reels,  rental  $7.50. 
This  famous  film  is  a  pictorial  history  of 
tlie  progress  of  America's  growth.  It 
epitomizes  more  than  a  century  and  a  half 
of  American  history.  It  is  the  work  of 
the  entire  motion  picture  industry.  His- 
torical sequences,  composed  of  material 
taken  from  outstanding  Hollywood  pro- 
ductions, vividly  portray  the  stories  of 
men  and  women  who  struggled  to  attain 
and  defend  American  liberties.  More  than 
a  hundred  top-ranking  Hollywood  stars 
appear  as  historical  characters  in  the 
well-knit  narrative.  Episodes  in  our 
country's  history  become  dramatic  reali- 
ties. We  see  Washington,  Franklin,  Jef- 
ferson, Madison,  Hamilton  and  others 
found  this  Republic.  We  hear  Lincoln's 
stirring  appeal  for  its  preservation.  We 
struggle  with  the  pioneers  as  they  win 
the  West  and  link  it  to  the  East.  We  see 
the  country  grow  and  flourish  by  means 
of  peaceful  arts,   industry  and  science. 

Land  of  Liberty  reveals  in  human  terms 
what  democracy  means  to  us.   It  shows 


what  a  stake  each  of  us  has  in  our  coun- 
try at  a  moment  when  the  American 
way  is  being  challenged  as  never  before. 
It  deserves  to  be  seen  by  every  man, 
women  and  child  in  the  country,  because 
it  will  make  them  proud  to  be  Americans. 

■  Bell  &  Howell  Company,  1801  Larch- 
niont  Ave.,  Chicago,  have  acquired  two 
new  "lecture  films"  on  Africa,  made  by 
Count  Byron  de  Prorok,  a  noted  arch- 
eologist  and  veteran  of  thirty  inter- 
national expeditions,  now  engaged  by 
the  War  Department  to  instruct  Amer- 
ican soldiers  on  the  conditions  likely 
to  be  encountered  in  the  African  theatre 
of  war. 

Ancient    Trails   of   North   Africa — 1 
reel,    16mm    sound — traces    the   known 


From  "Ancient  Trails  of  North  Africa" 

and  conjectured  history  of  ancient  man 
back  through  Rome,  Carthage  and  the 
Berbers,  back  to  the  troglodytes  and 
their  shadowy  paleolithic  predecessors. 
The  work  of  the  archeologist  is  fasci- 
natingly presented. 

Warriors  of  the  Sahara — 1  reel,  16mm 
sound — portrays  the  expedition  that 
finally  disclosed  the  remains  of  the 
fabled  Tin-Hiiian,  white  queen  of  the 
Sahara,  and  incidentally  shows  inter- 
esting sidelights  of  the  life  of  the 
Tuaregs,  whose  warriors  wear  veils 
and  curl  their  hair. 


March,   194) 


Page   119 


c::rfmona  ins  iJ\odua£.x± 


Another  Source  of  2  x  2 
Kodachrome  Slides 

Two  distinct  services  in  2  x  2  Koda- 
.hronie  Slides  have  recently  been  made 
available  by  the  BUxrk  Color  Productions, 
1404  N.  Fuller  Avenue.  Hollywood,  Calif. 

The  first  is  a  series  of  unit-sets  of  slides 
on  selected  topics  for  classroom  purposes. 
The  originals  were  taken  by  Dr.  Block 
liimself  and  the  duplicates  are  made  by 
liis  own  process  which  achieves  extra- 
jrdinarily  fine  reproduction  of  Kotla- 
rhromes.  The  unit-sets  contain  from  15 
to  over  80  slides  each  according  to  sub- 
ject. Among  the  subjects  available  are 
the  following:  Farm  .Animals  (34  slides), 
Making  Bread  (24).  Growing  of  Oranges 
{17).  Wholesale  Flower  Market  (23), 
Harbor  .Activities  (37),  The  Junkman 
(22),  Horses  (i7).  Pets  (20),  Baby 
Pets  (26),  The  Zoo  (85),  The  Circus 
(41),  etc.  The  slides  are  furnished  either 
in  cardboard  or  glass  mount,  and  at 
prices  very  reasonable  for  such  work. 
.■\  special  25%  discount  is  allowed  to 
schools.  We  have  enjoyed  examination 
of  scores  of  Dr.  Block's  slides.  They  are 
of  exceptional,  pictorial  quality  and  beau- 
tifully mounted. 

The  second  service  is  that  of  sui)plying 
duplicates  for  the  customer's  own  orig- 
inal Kodachromes.  More  and  more  teach- 
ers throughout  the  country  arc  using 
their  own  or  the  schcxjl's  miniature  cam- 
eras to  gather  original  material  for  teach- 
ing purposes.  The  problem  of  getting  sat- 
isfactory duplicates  from  these  originals 
is  often  troublesome.  We  have  seen  num- 
erous examples  of  Dr.  Block's  duplication 
of  Kodachrome,  comparing  originals  and 
duplicates  side  by  side.  The  startling  fact 
is  that  the  duplicate  frequently  betters  the 
original,  correcting  color  distortion  that 
results  from  an  expo.sure  less  than  per- 
fect. .'\lso  the  Block  service  can  often 
improve  originals  by  enlargement.  In 
many  a  Kodachrome,  better  balance  or 
composition  can  be  .secured  by  selecting 
the  core  or  major  interest  of  the  picture 
and  enlarging  it  to  the  2x2  slide  dimen- 
sions. Many  unsatisfactory  originals  be- 
come excellent  slides  under  such  treat- 
ment. 

Bausch  &  Lomb  at  War 

With  the  award  of  a  third  star  on 
February  3  by  the  .Army-Navy  Board 
of  Production  .Awards  for  outstand- 
ing performance,  the  Bausch  &  Lonib 
Optical  Company  issued  a  new  book- 
let, titled  "Bausch  &  Lomb  At  War," 
which  is  a  pictorial  presentation  of 
some  of  the  record  on  which  the  awards 
were  based.  Each  star  represents  six 
months  of  outstanding  performance  in 
producing  optical  equipment  for  the 
armed  forces. 

Some  of  these  optical  instruments 
are  shown   in   the  sixty  illustrations — 


height  finders,  range  finders,  battery 
commander's  telescopes,  binoculars, 
searchlight  mirrors,  stereoscopic  train- 
ers, photographic  lenses,  mapping  equip- 
ment, gun  sights,  aviator's  goggles, 
spotting  scopes,  aerial  navigation  sex- 
tants, mobile  optical  shops  for  field 
service,  and  microscopes  and  refrac- 
tion equipment  for  the  medical  services. 
The  book  is  a  case  history  of  one  of 
the  country's  most  important  indus- 
tries at  war — the  fourth  war  in  which 
this  90-year  old  company  has  actively 
participated. 


Motion  Pictures — 
Not  for  Theatres 

(Continued  from  pat/c  96  ) 

put  up  $100  each,  the  sum  to  consti- 
tute a  revolving  fund  for  building  a 
religious  films  library.  The  running 
expenses  would  be  paid  for  by  renting 
the  library  to  the  churches,  members 
of  the  association  to  receive  theirs  at 
a  discount.  Simple  indeed.  Graham 
Patterson  and  several  others  were 
equally  trusting. 

If  Will  Hays  resented  the  possible 
implications  of  Graham  Patterson  in 
1923,  he  held  no  grudge  in  September, 
1929,  when  he  called  the  conference 
of  social,  religious  and  educational 
leaders  to  consider  ways  and  means 
to  develop  the  "public  welfare  uses" 
of  the  screen — -what  a  happy  phrase 
that  is!  As  a  member  of  the  formid- 
able religious  committee  served  Stan- 
ley High,  then  editor  of  the  Christian 
Herald.  The  committee,  comprising 
thirty-three  distinguished  ladies  and 
gentlemen,  found  it  expedient  to  divide 
its  studies  of  the  Catholic  and  Protes- 
tant film  situations.  The  Protestants 
completed  their  survey  first,  and  in 
1930  their  report  was  published  at 
Boston,  where  Professor  Howard  M. 
LeSourd,  chairman  of  the  committee, 
was  situated. 

The  Protestant  work  was  accom- 
plished first  by  acquiring  as  complete 
a  list  as  possible  of  ministers  who  used 
films  in  their  churches,  making  a  total 
of  1,426  to  whom  were  sent  question- 
naires. Replies  came  from  576,  and 
upon  their  information  the  committee 
arrived  at  its  findings.  It  was  con- 
cluded that  64%  used  pictures  in  Sun- 
day evening  services,  and  many  also  in 
midweek  services  and  on  occasions  in 
Lent.  Seventeen  had  discontinued 
their  Sunday  shows  after  trial,  and 
eighteen  had  finally  stopped  all  use  of 
films  on  various  grounds,  including 
those  of  safety,  opposition  of  local 
theatres,  lack  of  worthy  pictures,  un- 
satisfactory equipment — and  expense. 
Many  other  statistics  of  interest  and 
value  were  presented,  and  then  fol- 
lowed some  general  conclusions  which 


Free  Films  Source  Directory — pub- 
lished by  the  DeVry  Corporation,  1111 
Arniitage  Avenue,  Chicago,  112  pp.  50c. 

This  new  publication  lists  some  1300 
films  available  free  to  non-theatrical 
audiences  from  many  sources.  Among 
the  new  free  subjects  listed  are  current 
wartime  films  on  the  Armed  Forces, 
Wartime  Production,  Shipbuilding, 
.Aviation,  Vocational  Training,  etc. 
Each  film  is  described  and  classified  as 
to  subject. 


must  have  been  slightly  embarrassing 
to   the   Hays  organization. 

They  were  premised  upon  the  state- 
ment that,  as  the  church  hesitated  to 
purchase  equipment  until  it  might  be 
assured  of  an  adequate  and  continuous 
supply  of  picture  material,  it  behooved 
tlie  motion  picture  industry  to  provide 
the  pictures,  permit  churchmen  to  edit 
them,  and  set  up  experimental  non- 
theatrical  exchanges  in  New  York, 
Boston,  Cleveland,  Chicago  and  Los 
Angeles,  the  number  ultimately  to 
reach  twelve  in  the  United  States  and 
Canada.  The  churchmen,  on  their  side, 
were  willing  to  give  certain  help,  but 
declared  that  they  could  not  raise 
money  to  finance  committee  expenses, 
and  therefore  recommended,  through 
the  committee,  that  the  industry  do 
that,  also.  In  short,  the  committee 
was  (|uite  satisfied  of  the  worth  of 
films  in  all  phases  of  religious  work — 
to  bring  the  dwindling  congregations 
back  into  the  pews,  and  in  church 
schools  and  missionary  education — but 
it  could  not  afford  to  pay  for  the 
service,  and  felt  that  it  was  only  fair 
that  the  wealthy  motion  picture  indus- 
try should  underwrite  the  job.  The 
entire  report  is  a  rather  remarkable 
document.  It  deserves  to  be  read  for 
its  own  sake  and  to  its  full  extent.  I 
believe  that  I  have  sketched  enough  of 
it  here,  however,  to  show  why  the 
survey  has  not  led  to  a  forced  devel- 
opment of  religious   films   in   America. 

Churches,  though,  constitute  a  group 
in  the  non-theatrical  field  which  is 
clearer-cut  than  most  others — easier 
to  api)rehend,  that  is.  The  clergyman 
generally  knows,  without  being  per- 
suaded, the  tremendous  force  of  screen 
entertaimnent.  He  probably  already 
has  film  equipment  of  a  kind.  And  be- 
yond requiring  a  wholesome  picture, 
he  may  be  satisfied,  as  a  rule,  with- 
out expensive,  tailor-made  product. 
Indeed,  being  a  naturally  resourceful 
person,  he  can  procure  "free"  films 
from  the  Government,  the  Y.M.C.A. 
or  one  of  the  university  extension 
libraries,  and,  by  his  own,  personal 
interpretations,  can  make  them  convey 
inspiring  messages. 

(To  be  continued) 


Page   120 


The  Educational  Screen 


TJt'^Dr     T^Uf  ^^       H  T3C^  ^  "T^ade  Directory 

nuXvU       X  ±X£l   X       X^X\U  for  the  Visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425  Williams  St.,  Denver,  Colo. 

Bailey   Film   Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago 

(Sec    advertisement   on    page    117) 

Better  Films  (2) 

742A  New  Lots  .\\e.,  Brooklyn,  N.Y. 
(See   advertisement    on    page    114) 

Brandon  Films  (3) 

1600  Broadway,  New  York  City 

(See    advertisement    on    page    108) 

Bray  Pictures  Corp.  (3,  6) 

729   Seventh   Ave.,    New   York  City 

(See  advertisement  on  page   114) 

Castle  Films  (3) 

RCA  Bldg.,  New  York  City 

(See  advertisement  on  page  81) 

College  Film  Center  (3,  5) 

84   E.   Randolph  St.,  Chicago. 

Creative  Educational  Society  (1) 

4th  Fl.,  Coughlan  Bldg. 
Mankato,  Minn. 

DeVry  School  Films  (3) 

1111  Armitage  Ave.,  Chicago 

(See   advertisement   on    page   82) 

Eastman  Kodak  Co.  (3) 

Teaching  Films  Division 
Rochester,  N.  Y. 

(See   advertisement    on    page    107) 

Eastman  Kodak  Stores,  Inc.  (3) 

Eastman   Classroom   l'"ilms 
356  Madison  Ave.,  New   York  City 

Erpi  Classroom  Films,  Inc.  (2,  5) 

1841  Broadway,  New  York  City 
(See   advertisement   on   page    114) 

Father  Hubbard  Educational  Films  (2) 

188  W.   Randolph  St.,   Cliicago 
Santa  Clara,  Calif. 

(See   advertisement    on    page    110) 

Films,   Inc.  (3) 

330  VV.  42nd   St.,  New   York   City 

64  E.  Lake  St..  Chicago 

314  S.  W.  Ninth  Ave.,  Portland,  Ore. 

Finer  Films,  Inc.  (2) 

407  Westminster  Ave., 

Los   Angeles,   Calif. 

(See   advertisement    on    page    112) 

General  Films,  Ltd.  (3,  6) 

1924   Rose   St.,   Regina,  Sask. 
156  King  St.,  W.  Toronto 

Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  45th  St.,  New  York  City 

(See  advertisement  on   page   112) 

Harvard  Film  Service  (3,  6) 

Basement — Germanic  Museum 
Frisbie  PI.,  Cambridge,  Mass. 

Hoffberg  Productions,  Inc.  (2,5) 

1600  Broadway,  New  York  City 

Ideal  Pictures  Corp.  (3,  e) 

28  E.   Eighth  St..  Cliicago,  III 
(See  advertisement  on  page  84) 


Manse  Film  Library  (3) 

1521   Dana  Ave.,   Cincinnati,  O. 

Post  Pictures  Corp.  (3) 

723  Seventh  Ave.,  New  York  City 

The  Princeton  Film  Center  (2) 

106  Stockton  St.,  Princeton,  N.  J. 

Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd.,  St.  Louis,  Mo. 
(See    advertisement   on   page    109) 

Texas  Visual  Education  Co.  (3) 

305    West    lOtli    St...    Austin.   Tex. 

Universal  Pictures  Co.,  Inc.  (5) 

Rockefeller  Center,  New  York  City 
(See  advertisement  on   page    11.5) 

Vocational  Guidance  Films,  Inc.        (2) 
2718  Beaver  Ave.,  Des  Moines,  la. 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 
918  Chestnut  St..  Philadelphia,  Pa. 

Y.M.C.A.  Motion  Picture  Bureau       (3) 

347  Madison  Ave.,  New  York  City 
19  S.  LaSalle  St.,  Chicago 
351  Turk  St.,  San  Francisco,  Cal. 
1700  Patterson  Ave.,  Dallas,  Tex. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The   Ampro   Corporation  (3) 

2839  N.  Western  Ave.,  Chicago 

(See   advertisement    on    page    105) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave..  Chicago 

(See  advertisement  on   page   117) 

DeVry  Corporation  (3,  6) 

1111    Armitage   Ave.,   Chicago 

(See   advertisement   on   page   82) 

Eastman  Kodak  Stores,  Inc.  (3) 

Kodascoiie   Libraries 

356  Madison  .Vve.,  New  York  City 

General  Films.  Ltd.  (3,  6) 

1924    Rose    St.,    Regina,   Sa.sk. 
156  King  St.,  W.  Toronto 

Ideal  Pictures  Corp.  (3.  6) 

28   E.   Eighth   St.,   Chicago 

(See   advertisement   on   page   84) 

RCA   Manufacturing  Co.,   Inc.        (2) 

Educational  Dept.,  Camden,  N.  J. 

(See  advertisement  on  page  103) 

S.  O.  S.  Cinema  Supply  Corp.  (3,  6) 

449  W.  42nd  St..  New  York  City 
Texas   Visual    Education   Co..  (3) 

305  West   10th  St..  Austin,  Te.x. 

Victor  Animatograph  Corp.  (3) 

Davenport,   Iowa 

(See   advertisement    on    inside   front   cover) 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Society  for  Visual  Education,  Inc. 
100  E.  Ohio  St..  Chicago,  111. 

(See  advertisement  on   outside  back   cover) 

Williams.  Brown  and  Earle,  Inc. 

918    Chestnut    St.,    Philadelphia.    I'a. 


SLIDES  AND  FILMSTRIPS 

Ideal  Pictures  Corp. 

28  E.  Eighth  St.,  Chicago,  111. 

(Sec  advertisement  on  page  84) 

The  Jam  Handy  Organization 

2900   E.  Grand  Blvd.,  Detroit,  Mich. 
(See  advertisement  on  pages  109,  113) 

Keystone  View  Co. 
Mcadville,  Pa. 

(See  advertisement  on  page  85) 

Klein  &  Goodman 

18  S.  10th  St.,  Philadelphia,  Pa. 

Radio-Mat  Slide  Co..  Inc. 

222  Oakridge  Blvd., 
Daytona  Beach,  Fla. 

(See   advertisement    on    page    114) 

Society  for  Visual  Education,  Inc., 

100  E.  Ohio  St.,  Chicago,  111. 
(See  advertisement  on  outside  back  cover) 

Visual  Sciences 
Suffern,  New  York 

(See    advertisement   on    page    115) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa 


STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bauscb  and  Lomb  Optical  Co. 

Rochester,   N.   Y. 
(See  advertisement  on    inside   back    cover) 

DeVry  Corporation 

nil  Armitage  Ave.,  Chicago 

(See  advertisement   on    page   82) 

General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Keystone  View  Co. 

Meadville,   Pa. 

(See   advertisement  on   page   85) 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St.,  Chicago,  111. 

(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See   advertisement    on  '  page    111) 

Williams,  Brown  and  Earl,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 

16 

mm 

silent. 

(2) 

indicates 

16 

mm 

sound. 

(3) 

indicates 
silent. 

16 

mm 

sound  and 

(4) 

indicates 

35 

mm 

silent. 

(•i> 

indicates 

35 

mm 

sound. 

(6) 

indicates 
silent. 

35 

mm 

sound  and 

Continuous  insertions  under  one  heading,  $2.00  per  issue;  additional  listings  under  other  headings.  $1.00  each. 


T,  i- 


EDUCATIONAt 

SCR 


HE   MAGAZINE   DEVOTED  TO   AUDIO-VISUAL  AIDS   IN   EDUCATION 


PubHc  Library 
[ansas  CJty,  Mo. 
eachers  Library 


A   D  D  I  I  I   O  A  1 


The  three  R^s  become E. S. M.  W.T. 


Universities  and  schools  are  training 
thousands  of  young  men  and  women 
under  the  E.S.M.W.T.*  program  of 
the  United  States  Office  of  Education. 

Typical  is  the  young  woman  shown 
above  who  is  measuring  the  refractive 
index  of  a  prism  with  a  Spencer  Spectro- 
meter— part  of  a  training  course  which 
will  qualify  her  as  an  inspector  or  pro- 
duction worker  in  an  optical  instru- 
ment plant. 


Thus  our  modern  educational  in- 
stitutions are  equipping  the  youth  of 
the  nation  for  scientific  work  in  war 
production — a  far  cry  from  the  little 
red  schoolhouse  of  early  America! 


Spe 


ncer  lens  company 

BUFFALO,  NEW  YORK 

SCIENTIFIC  INSTRUMENT  DIVISION  OF 

AMERICAN   OPTICAL  COMPANY 


*E.  S.  M.  IV.  T.  --  Ea^inttrhig,  Scirncc,  Muiiagtmint,  War  Training. 


The  EDUCATIONAL  SCREEN 


t 


THE  EDUCATIONAL  SCREEN 
Staff 

Nelson  L.  Greene    -    -    -    Editor-in-Chiej 

Evelyn  J.  Baker    -    Advertising  Manager 

Josephine  Hoffman     -    -    Office  Manager 

Department    Editors 

John  E.  Dugan    -    Haddon  Heights,  N.  J. 

Donald  A.  Eldridge    -    New  Haven,  Conn. 

WiLBER    Emmert     -     -     -     -     Indiana    Pa. 

Hardy  R.   Finch     -    -    Greenwich,  Conn. 

Ann  Gale Chicago,  111. 

David  Goodman     -    -    New   York,  N.  Y. 

Josephine  Hoffman    -    -    -     Chicago,  III. 

L.  C.  Larson     -    -     -    Bloomington,   Ind. 

F.  Dean  McCluskv    -    Scarborough,  N.  Y. 

Etta  Schneider    -    -    New  York.   N.  Y. 

Editorial  Advisory  Board 

Ward  C.  Bowen,  Chief,  Bureau  of  Radio 
and  Visual  Aids,  State  Education  De- 
partment,  Albany,    N.   Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools,  San  Diego. 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  E.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division,  Uni- 
versity of  Wisconsin,  Madison,  Wis. 

J.  A.  HoLLiNGER,  formerly  Director,  Depart- 
ment of  Science  and  Visualization,  Pub- 
lic Schools,   Pittsburgh,  Pa. 

BovD  B.  Rakestraw,  Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia,  Berkeley,  Calif. 

Paul  C.  Reed,  Head,  Educational  Division, 
Bureau  of  Motion  Pictures,  Office  of 
War  Information,  Washington,  D.  C. 

W.  Gayle  Starnes,  in  charge  of  Audio- 
Visual  Aids,  Department  of  University 
Extension,  University  of  Kentucky, 
Lexington,    Ky. 

Leua  Trolinger,  Secretary,  Bureau  of 
Visual  Instruction,  Extension  Division, 
University  of  Colorado,  Boulder,  Cole. 

W.  W.  Whittinghill,  Director,  Depart- 
ment of  Visual  and  Radio  Education, 
Board  of  Education,  Detroit.  Mich. 

SUBSCRIPTION  PRICE 

Domestic  J2.00 

Canada  $2.50 

Foreign    $3.00 

Single  Copies 25 


VOLUME  XXII  APRIL,  1943 


NUMBER  FOUR 

WHOLE  NUMBER  211 


Contents 


Cover  Pictiire — Planting  and  Cultivating  a  Vegetable  Garden 

(Photo  courtesy   National   Committee   on   Boys  and   Girls  Club  Work.) 

School-Made  Kodachrome  Slide  Units  Jon  B.  Leder     126 


The  Oklahoma  Plan  for  State  Wide  Use  of 
War  Information  Films 


Thurman  White      128 


Audio-Visual  Aids  at  Work  in  Signal 
Corps  Training. 


.Gordon  C.  Godbey      131 


Motion  Pictures — Not  for  Theatres Arthur  Edwin  Krows  133 

The  Film  and  International 

Understanding Edited  by  John   E.   Dugan  136 

Summer  Courses  in  Visual  and  Audio-Visual  Instruction,   1943 138 

The  Department  of  Visual  Instruction  Notes 139 

School-Made  Motion  Pictures  Conducted  by  Hardy  R.  Finch  140 

Experimental  Research  in  Audio- Visual 

Education Conducted  by  David  Goodman  142 

News  and  Notes Conducted  by  Josephine  Hoffman  144 

The  Literature  in  Visual  Instruction 

A  Monthly  Digest Conducted  by  Etta  Schneider  148 

Current  Film  News 152 

Among  the   Producers 153 

Here  They  Arel     A  Trade  Directory  for  the  Visual  Field     156 


The  EDUCATIONAL  SCREEN  published  monthly  except  July  and  August  by  The 
Educational  Screen,  Inc.     Publication  Office,  Pontiac,  Illinois;  Executive  Office,  64 
East  Lake  St.,  Chicago,  Illinois.     Entered  at  the  Post  Office  at  Pontiac,  llllnoi*.  as 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lake  St.,  Chicago,  III. 


Page    124 


The  Educational  Screen 


KEYSTOXE 
AIRCRAFT  RECOGXITIOX  SERIES 


]%o,  41  from  Series 
Boeing  B-17E  '^Flying  Fortress''   (U.S.) 

W — Low;  leading  and  trailing  edges  tapered,  with  round  tips;  dihedral;  full 
cantilever. 

E — Four;  radial;  Wright  Cyclones. 

F — Very  long;  round;  bombardier's  nose  blister  resembles  eyes  and  mouth  of 
a  fish. 

T — Dorsal   fin;    tail  gunner's  blister  behind  fin;  single. 

O — Gun  turret  on  top  of  fuselage  aft  of  cockpit;  turret  under  fuselage  aft  of 
wings;  wheels  do  not  completely  retract;  nacelles  of  outer  engines  are 
shorter  than  those  of  inside  engines. 


Authentic— IJsahle—MJp-to-Date 

ith  or  without  Flashmeter,  but  Flashinetei 
Sample  pages  from  the  Teachers'  Manual   will   be  sent   upon    request. 


May  he  used  with  or  without  Flashmeter,  but  Flashmeter  techniques  are 
recommended. 


Keystone   Vieiv  Company 

Meadville,    Penna. 


April,   1943 


Page   125 


No  wonder  all  Filmosounds  we  can  build 
are  going  to  the  armed  forces! 

Because  motion  pictures  are  proving  so  highly  efficient  in 
training  the  men  in  our  armecl  forces — because  they  accom- 
plish so  much  so  quickly,  the  Government  needs  every 
Filmosound  Projector  that  Bell  &  Howell  can  build — and 
that's  where  they  are  all  going  now — so  take  good  care  of 
your  Filmosound  or  silent  Filmo  Projector,  if  you  have  one. 

Consult  B&H  Service  Dlvlilon  — Regardless  of  the  age  and 
model  of  your  Filmo  projector — it  is  still  a  good  machine 
and  will  give  years  of  good  service  with  reasonable  care. 
We  build  them  that  way!  If  your  school  projector  needs 


repair  or  reconditioning,  remember  that  our  factory  recon- 
ditioning service  gives  you  a  real  B&H  precision  Job.  See  your 
B&H  visual  education  dealer  for  details  of  this  service. 

Uie  the  FILMOSOUND  Library— Keep  your  school  projector 
busy  showing  educational  and  morale-building  films. 
Morale  is  the  armament  of  the  mind — as  essential  to  victory 
as  munitions. 

New  among  the  thousands  of  films  available  to  you 
through  the  Filmosound  Library  are  "The  Human  Body  in 
First  Aid,"  "American  Handicrafts,"  "Henry  Browne,  Farmer" 
(new  OWI  film),  and  "Divide  and  Conquer,"  a  Warner  Bros, 
production  repudiating  the  theories  of  the  "master  race" 
and  revealing  its  brutalities.  Mail  coupon  for  film  catalog. 

DON'T  FORGET  a  new  lamp  can  be  supplied  you  only 
when  bate  of  burned-out  projection  lamp  it  turned  In. 


BUY  WAR   BONDS 


"f"  FOR  EXCELLENCE. . .  how  Army-Navy  Award  for  ex- 
traordinary performance  is  won  and  presented,  is  shown  by 
this  one-reel  sound  61m.  Service  charge  50c. 


Bell  &  Howell  Co.,  Chicago;  New  York;  Hollywood;  Washington,  D.  C;  London.  Est.  1907. 
MOT/ON      PICTUKC       CAMERAS      AND       PROJECTORS 


PRECISION-MADE    BY 


BELL  &  HOWELL  CO. 

1817  Larchmoot  Ave.,  Chicago,  lU. 

Without  obligation,  please  send  me: 

(  )  Detailed  information  on  Reconditioning  Service. 

(  )  Filmosound  Library  Catalog  Supplement  194SA  listing 

preinduction  and  other  new  training  films. 
( )  Data  on  Emergency  First  Aid  films. 
(  )  Catalog  of  British  Information  Service  films. 
(  )  Educational  film  catalog. 

I  now  have have  not your  1942  film  catalogs. 


Page   126 


The  Educational  Screen 


School -Mdde  Kodachrome  Slide  Units 


BY    JON    B.    LEDtR 

Principal,  P.  S.  No.  78,  Brooklyn,  New  York 

Presenting  values  to  be  derived  from  school 
creation  oi  original  slide  units,  with  de- 
tailed advice  as  to  photographic  procedure. 

READERS  of  the  Educational  Screen  are  too 
familiar  with  the  educational  values  of  slides  to 
need  to  be  reminded  of  them.  The  creation  of 
original  units  of  work,  however,  entails  activities  of 
inestimable  additional  benefit  to  pupils  who  share  in 
the  undertaking.  This  article  will  attempt  to  describe 
these  values  and  the  technique  of  producing  a  series  of 
Kodachrome  slides. 

The  slides  to  be  described  were  produced  by  photo- 
graphing on  35  millimeter  color  film  a  series  of  unified 
subjects  prepared  by  various  classes  in  the  fourth  to 
sixth  grades.  The  initial  cost  of  the  Kodachrome  frlir. 
used  includes  processing  at  Rochester,  and  the  return 


Posing  for  pictures  involves  planning,  dramatization, 
costume  design  and  execution,  and  construction  of 
backgrounds.  Other  materials  to  be  photographed 
involve  construction  work  on  models,  pictorial  repre- 
sentation, graphic  representation,  map  making,  and  the 
study  of  color  harmony. 

The  amount  of  time  to  be  devoted  to  the  production 
of  a  unit  will  vary,  of  course,  with  the  nature  of  the  unit 
and  the  originality  of  teacher  and  pupils.  The  units  com- 
pleted at  the  writer's  school  required  from  four  to  six 
weeks  of  part-time  effort,  about  two  hours  daily  being 
the  maximum  of  class  time.  Varying  amounts  of  after- 
school  research,  construction,  sewing,  etc.  were  con- 
tributed as  well.  In  view  of  the  many  desirable  ac- 
tivities that  may  be  integrated  in  the  project,  it  is  safe 
to  say  that  a  considerably  larger  share  of  class  time 
may  be  profitably  devoted  to  a  well-planned  unit.  In 
every  case,  teachers  reported  that  their  children  looked 
forward   with  the  greatest  eagerness  to  their  "slide" 


Camera  and  easel  arrangement  for  photographing  plane  surfaces. 


of  the  film  to  the  purchaser  in  the  form  of  mounted  2x2 
slides.  It  is  thus  only  necessary  to  prepare  and  photo- 
graph suitable  sub-titles  on  black-and-white  film  to 
complete  each  set  of  slides.  The  total  film  cost  for  a  set 
of  eighteen  color  slides  and  eighteen  monochrome  title? 
is  approximately  three  dollars. 

The  subject  of  a  series  of  slides  may  be  a  unit  in 
social  studies,  biography,  hygiene,  science,  art,  nature — 
in  fact,  any  subject  that  lends  itself  to  visual  instruc- 
tion. Under  the  direction  of  a  competent  teacher,  even 
a  kindergarten  class  is  perfectly  capable  of  producing 
a  useful  and  attractive  series  of  slides.  There  is,  of 
course,  no  upper  limit  to  the  grade  that  can  usefully 
engage  in  this  activity. 

Such  an  undertaking  includes  the  socializing  experi- 
ence of  conferences  dealing  with  the  subject  of  the  unit, 
the  make-up  of  individual  slides,  the  wording  of  sub- 
titles, etc.  Naturally,  research  work  and  excursions 
are  very  much  in  order  and  are  intrinsically  motivated. 


periods,  whether  the  work  of  the  particular  period  in- 
volved construction,  research,  language  activities,  or 
what  not. 

When  a  series  of  slides  has  been  completed,  pupils 
from  the  class  may  undertake  to  exhibit  it  to  other  classes 
and  supplement  it  orally.  Every  completed  unit  thus  be- 
comes part  of  a  cumulative  school  library  of  permanent 
value.  Such  units  have  the  further  virtue  of  having 
been  made  to  order  to  fit  each  school's  ciirriculum. 

Materials  to  be  photographed  may  include  children 
in  costume,  dioramas,  models,  paintings,  dolls,  maps, 
graphs,  and  reproductions.  It  is  desirable  to  set  up 
a  unified  aim  and  strive  for  a  variety  of  relevant  ma- 
terials rather  than  to  yield  to  the  temptation  of  using 
materials  at  hand  and  perhaps  thereby  sacrifice  the 
educational  unity  and  effectiveness  of  the  series.  It  is 
better  to  use  genuinely  original  materials  than  to  attempt 
to  rival  commercially  produced  slides  by  photographing 
commercially  prepared  pictures. 


April,   194} 


Page   127 


Throughout  the  progress  of  the  undertaking,  the 
writer  emphasized  to  teachers  the  relative  unimportance 
of  technical  perfection,  where  this  could  be  achieved 
only  at  the  sacrifice  of  originality.  It  is  easy  to  copy 
a  textbook  illustration  photographically,  but  the  edu- 
cational values  described  above  are  thereby  largely 
short-circuited.  Moreover,  the  original  drawings  of 
children  have  a  vitality  seldom  found  in  textbook  pic- 
tures. The  accompanying  illustration  is  reproduced 
from  a  color  slide  of  which  the  original  was  about 
eighteen  by  twenty-seven  inches  in  size,  done  in  lovely 
pastel  colors  by  a  fourth  grade  child. 

The  title  of  this  particular  unit  was  "Old  China"; 
other  classes  did  units  on  Benjamin  Franklin,  Andrew 
Jackson,  The  Pilgrims,  Brazilian  Rubber,  Health 
Habits,  etc. 

Although  it  would  be  an  exaggeration  to  assert  that 
any  snapshot  taker  can  produce  successful  Kodachrome 
slides,  it  is  nevertheless  true  that  one  need  not  be  a 
professional  photographer  to  achieve  perfectly  satis- 
factory results.  Anyone  who  can  produce  acceptable 
photographs  under  artificial  light,  can  undoubtedly  do 
at  least  as  well  with  Kodachrome.  The  fact  that  pro- 
cessing is  included  in  the  cost  of  the  film  removes  at 
least  the  variable  of  developing  and  printing. 

The  minimum  equipment  required  includes  a  suitable 
35  millimeter  camera,  tripod,  copying  easel,  lights,  and 
lens  extension  tubes.  As  in  most  photography,  the 
quality  and  cost  of  the  equipment  may  vary  consider- 
ably, with  an  accompanying  variation  in  results  which 
is  not,  however,  directly  proportional  to  the  difference 
in  cost.  For  example,  although  it  cannot  be  denied  that 
a  Cf)ntax  camera  costing  $250.00  will  produce  better 
results  than  an  Argus  costing  $35.00,  the  difference  is 
slight  enough  to  be  apparent  to  only  the  most  critical 
observer.  Moreover,  many  excellent  features  of  the 
Contax  camera  which  serve  to  raise  its  price  are  of  no 
particular  value  for  our  immediate  purpose,  however 
desirable  they  nmy  be  for  general  or  otherwise  special- 
ized photography.  Thus,  while  the  writer's  Contax  has 
an  ultra-rapid  f-1.5  lens,  no  picture  in  the  project  was 
taken  at  a  lens  opening  greater  than  f-4.5,  which  falls 
well  within  the  range  of  even  the  Argus  camera. 

The  chief  requirement  of  the  camera  is  one  that  is 
not  met  by  all  makes,  and  is  in  fact  lacking  on  several 
that  are  far  from  inexpensive.  That  is.  the  lens  must 
be  demountable  so  that  an  extension  ring  or  tube  may 
be  inserted  in  order  to  achieve  proper  focus  at  distances 
as  clo.se  as  ten  inches.  This  is  particularly  necessary 
in  photographing  typewritten  sub-titles,  and  other  small 
subjects. 

As  the  project  will  probably  involve  a  considerable 
amount  of  "copying,"  i.  e.,  photographing  paintings, 
drawings,  maps,  and  other  plane  surfaces,  it  is  essential 
to  i)urchase  or  con.struct  a  suitable  copying  easel,  which 
greatly  reduces  the  time  and  trouble  involved.  The 
illustration  shows  a  very  .satisfactory  home-made  affair, 
which  has  served  admirably.  It  consists  of  an  upright 
wot)den  surface,  about  fourteen  by  twenty-one  inches 
in  size,  fixed  at  right  angles  to  a  small  sliding  platform 
wiiich  carries  the  camera,  mounted  by  its  tripod  screw. 
.-\fter  the  camera  has  been  mounted,  it  is  slid  up  close 
to  the  easel  surface,  so  that  the  lens  may  be  accurately 
centered  upon  the  easel,  after  which  tlie  easel  is  marked 


A    child's   colored   drawing    which    was    reproduced    on    a 
Kodachrome  slide  for  a  unit  on  China. 

off  in  numbered  rectangles,  at  half-inch  intervals,  each 
rectangle  retaining  the  proportions  of  two  to  three,  as 
the  picture  size  is  twenty-four  by  thirty-.six  millimeters. 
These  rectangles  are  indispensable  for  rapid  and  accu- 
rate work,  patricularly  if  the  camera  chosen  has  a  re- 
movable back,  which  permits  ground-glass  focusing. 
If  the  latter  is  the  case,  the  camera  is  mounted  on  its 
platform,  and  accurate  focus  achieved  on  the  ground- 
glass  for  each  rectangle  in  succession.  .A.t  such  close 
distances,  it  will  be  necessary  to  u.se  the  extension  rings 
or  tube  mentioned  above,  and  perhaps  also  one  or  more 
supplementary  slip-on  lenses  of  the  Proxar  type.  Ameri- 
can-made supplementary  lenses  are  perfectly  satisfac- 
tory, and  cost  only  about  two  dollars  apiece.  As  each 
correct  focus  is  achieved,  the  proper  setting  of  the 
sliding  platform  is  marked  by  a  permanent  line  on  the 
"track."  numbered  to  correspond  with  the  respective 
rectangle.  The  lens  .setting  is  also  marked  at  this  line. 
Thus,  once  the  easel  has  been  marked  for  every 
rectangle,  all  that  is  necessary  to  photograph  a  given 
drawing  is  to  center  the  drawing  on  the  easel,  note 
which  rectangle  most  closely  approximates  the  drawing 
in  size,  and  proceed  to  focus  the  camera  according  to 
the  rectangle  selected.  Some  such  procedure  is  abso- 
lutely necessary  to  insure  accurate  framing  and  focus. 
as  the  "finder"  of  any  camera  is  inoperative  at  dis- 
tances closer  than  three  feet,  and  inaccurate  even  at 
three  feet. 

The  illustration  also  shows  the  lights  and  reflectors 
used  with  the  easel.  (One  reflector  has  been  removed 
to  avoid  blocking  the  easel.)  The  Hghts  need  not  be 
stronger  than  sixty  watts,  as  long  exposures  may  easily 
be  given.  The  essential  precaution  to  be  ob.served  is 
that  each  light  should  be  at  an  angle  of  at  least  forty-five 
degrees  to  the  picture,  in  order  to  avoid  undesirable 

reflections. 

{Concluded  on  pane  146) 


Page   128 


The  Educational  Screen 


The  Oklahoma  Plan  for  State  Wide  Use 


THURMAN    WHITE 

State  War  Film  Coordinator 
Visual  Education  Department 
University  of  Oklahoma,  Norman 


An  advanced 
Americanization 
class  for  Japanese 
students.  ("Japan- 
ese   Relocation") 


AT  THE  START  of  the  war  Oklahoma  had  eight 
major  educational  film  lending  libraries  and  it 
is  to  these  that  we  must  look  today  for  the  dis- 
tribution of  the  government's  16mm  War  Information 
Films.  Five  of  the  eight  are  located  in  state  institutions 
of  higher  learning — the  University  of  Oklahoma  (Nor- 
man), A.  &  M.  College  (Stillwater).  Northeastern 
State  College  (Tahlequah),  Southeastern  State  College 
(Durant),  and  East  Central  State  College  (Ada).  The 
other  three  are  commercial  libraries  located  in  Okla- 
homa City — The  Camera  Shoppe,  The  Oklahoma  Visual 
Education  Company,  and  H.  O.  Davis. 

•  The  Situation 

Although  the  Golden  Report  shows  only  275  pro- 
jectors for  Oklahoma,  a  rather  common  estimate  by 
these  library  directors  is  that  there  are  over  400  pro- 
jectors in  the  state.  Normally  occupied  with  the  dis- 
tribution of  library  owned  films  or  those  deposited  by 
industry,  these  Oklahoma  libraries  now  have  the  addi- 
tional task  of  circulating  government  war  films.  The 
problem  which  they  face  is :  How  obtain  the  most 
efTective  use,  widest  circulation,  and  largest  aggregate 
Oklahoma  audience  for  such  motion  pictures  ? 

These  eight  distributors  have  sat  down  and  explored 
together  the  possible  answers  to  these  questions.  Since 
the  government,  through  the  Office  of  War  Information, 
is  depositing  the  prints  without  charge  and  allowing 
only  the  very  small  service  fee  of  50c  per  subject  (25c 
for  each  additional  subject  per  shipment)  there  is  abso- 
lutely no  profit  to  anyone  in  the  plan  which  has  been 
formulated.  But  each  library  feels  that  it  is  responsible 
to   the   citizens   whom    it    serves    for   providing   them 


with  needed  information.  In  our  country  we  are  unsafe 
to  the  extent  that  we  are  uninformed.  It  is  by  the  choice 
of  the  people  that  our  government  operates.  War  time 
decisions  must  be  made  upon  reliable  information  and 
Oklahoma  film  libraries  feel  that  the  most  powerful  and 
informative  media  to  this  end  are  the  government's 
official  war  films. 

These  libraries  are  therefore  agreed  cooperatively  to 


Household  goods  essential  to  the  war  effort.  ("Salvage") 


April,   1943 

of  War  Information  Films 


Page   129 


All  accompanying  illustra- 
tions are  from  the  films 
released  by  the  Office  of 
War  Information,  Washington 


Farmer  Browne, 
Negro  farmer,  do- 
ing his  part  to  win 
the  war.  ("Henry 
Browne,    Farmer") 


distribute  these  films  to  Oklahonians.  They  have  elected 
a  State  War  Film  Co-ordinator  to  clear  their  mutual 
problems  of  distribution,  and  have  also  authorized  him 
to  invite  statewide  organizations,  communities,  and  col- 
leges to  appoint  Associate  \\'ar  Film  Co-ordinators  to 
carry  out  a  state-wide  plan  of  utilization.  Such  an  in- 
vitation has  been  extended  to  the  following  groups : 
Junior  Chamber  of  Commerce,  Kiwanis  Club,  American 


Keep  fit  to  do  your  bit"  is  the  theme  of  "Keeping  Fit." 


Association  of  University  Women,  Lions  Club,  Business 
and  Professional  Women's  Club,  Rotary  Club,  Chamber 
of  Commerce,  American  Legion,  Oklahoma  Congress  of 
Parents  and  Teachers,  League  of  Women  Voters,  and 
the  Oklahoma  Education  Association.  A  like  invitation 
has  been  extended  to  each  college  president  in  the  state. 
Also,  the  State  Department  of  Education  has  requested 
every  superintendent  in  Oklahoma  whose  school  owns  a 
16mm  projector  to  appoint  a  Community  Co-ordinator. 
The  response  has  been  most  gratifying. 

It  is  planned  to  conduct  tlie  business  of  the  Co-ordina- 
tors by  correspondence.  No  meeting  of  Community  or 
College  War  Film  Co-ordinators  is  contemplated.  From 
time  to  time  it  may  be  advisable  for  the  Associate  Co- 
ordinators to  meet,  but  only  in  the  event  of  an  emer- 
gency effecting  the  entire  scheme  of  distribution  and 
utilization. 

The  Associate  Co-ordinator 

The  Associate  War  Film  Co-ordinators  are  desig- 
nated b)'  the  president  or  governing  board  of  state-wide 
organizations.  They  have  tiiree  major  responsibilities : 
To  inform  their  membership,  through  their  house 
organs  and  other  bulletins,  ( 1 )  of  the  titles  and  de- 
scriptions of  the  films  available,  (2)  of  the  best  ways 
to  use  these  motion  pictures,  and  (3)  of  the  correct  pro- 
cedure for  obtaining  the  desired  films. 

The  films  may  be  used  in  a  variety  of  ways.  They 
may  be  shown  at  regular  meetings  of  local  groups  and 
in  such  cases  there  are  several  techniques  which  may 
be  employed.  They  may  be  shown  for  15  or  20  minutes 
at  the  start  or  close  of  the  meeting ;  or  they  may  be 
shown  as  a  part  of  the  program  with  a  speaker  to  follow 


Page   130 


The  Educational  Screen 


the  film  and  discuss  the  subject  matter  shown ;  or  they 
nvay  be  used  in  a  film  forum  with  a  panel  of  discussants 
to  analyze  the  film  and  supplement  the  topic  with  ad- 
ditional information  not  shown  in  the  film;  or  the 
entire  program  may  be  war  motion  pictures. 

Local  groups,  in  order  to  obtain  showings,  should 
know  their  Community  War  Film  Co-ordinator. 
Their  school  superintendent  can  tell  them  who  it  is. 
If  for  any  reason  the  Community  Co-ordinator  can 
not  secure  a  particular  film,  the  local  group  may 
write  direct  to  the  nearest  film  library,  or  the  one 
of  their  preference. 

The   Community   Co-ordinator 

The  Community  War  Film  Co-ordinator  is 
usually  appointed  by  the  school  superintendent  at 
the  request  of  the  State  Department  of  Education. 
A  school  which  has  made  such  an  appointment  has 
a  certificate  so  stating  from  the  State  Department. 
Usually  the  person  named  is  the  school's  Director 
of  Audio-Visual  Aids,  but  he  may  be  a  person  not 
even  connected  with  the  schools  but  active  in  the 
civilian  war  effort.  The  responsibilities  of  the 
Community  Co-ordinators  are:  (1)  To  inform  local 
groups  of  the  titles  and  descriptions  of  films  received 
in  the  community;  (2)  To  arrange  bookings  for  ship- 
ment of  films  to  serve  all  groups  which  wish  to  use  them, 
so  as  to  obtain  a  maximum  use  of  the  films  while  they 
are  in  the. community ;  (3)  To  assist  local  groups  in 
obtaining  projector  and  operator  when  needed ;  (4) 
To  suggest  ways  of  using  the  War  Information 
pictures;  and  finally  (5)  To  see  to  it  that  the  re- 
quired report  cards  are  mailed  to  Washington  for 
each  group  that  uses  the  films. 

Descriptions  of  the  films  are  furnished  by  bul- 
letins released  from  time  to  time  as  new  subjects 
are  placed  on  deposit  in  Oklahoma.  In  most  com- 
munities the  Co-ordinator  will  telephone  the  pro- 
gram chairman  of  various  groups  each  time  a 
shipment  is  received  in  order  to  maintain  contact. 
This  is  the  key  to  the  success  of  a  community 
informational  program  through  motion  pictures. 
The  Community  Co-ordinator  must  constantly  make 
known  what  he  has  available.  No  group  in  the 
community  should  receive  a  shipment  of  war  films  (as 
occasionally  obtained  direct  from  an  outside  source) 
without  notifying  the  Co-ordinator  that  the  subjects  are 
in  town  and  available  for  other  groups  to  use.  It  is 
much  better,  of  course,  for  all  these  motion  pictures  to 
be  shipped  to  one  person — the  Community  War  Film 
Co-ordinator — and  then  for  him  to  arrange  the  local 
bookings.  Conflicts,  of  course,  must  be  avoided  but 
the  pictures  should  be  shown  as  many  times  during  the 
day  as  possible — for  example :  in  the  morning  at  a  High 
School  assembly  ;  at  noon  at  the  Chamber  of  Commerce  ; 
in  the  afternoon  at  a  P.T.A. ;  in  the  evening  at  a  Metho- 
dist Church  dinner ;  and  at  night  to  the  American 
Legion.  In  spite  of  the  fact  that  a  shipment  of  film 
might  be  thus  busy  every  day  while  in  a  community, 
there  will  often  be  one  group  meeting  the  following 
week  wishing  to  use  the  same  pictures.  The  Co-ordinator 
must  not  be  tempted.  If  he  cannot  obtain  permission 
to  keep  the  films  for  an  additional  period,  it  is  abso- 
lutely necessary  that  they  be  returned  on  time.    Other- 


wise the  next  community  will  be  disappointed. 

The  majority  of  groups  will  need  to  borrow  a  16mm 
sound  projector  and  have  an  operator  provided  for 
them.  If  called  upon  to  do  so,  the  Community  Co- 
ordinator will  arrange  for  these.  Now,  obviously,  only 
one  person  is  needed  to  handle  the  equipment  and  run 
the  show,  but  if  the  Co-ordinator  is  depended  upon  to 
make  such  arrangements  rather  frequently  he  inay 
need  to  designate  a  permanent  "committee  in  charge 
of  showings."  Such  a  plan  has  been  adopted  in  the 
cities  of  Birmingham  and  Atlanta. 

In  addition  to  set  programs,  as  ofTered  to  the  Asso- 
ciate Co-ordinators,  the  Community  Co-ordinators  may 
wish  to  sponsor  a  general  community  "Victory"  motion 
picture  show.  This  is  a  full  evening  of  war  pictures  for 
the  general  public  and  has  been  a  very  popular  evening 
each  week  in  several  Oklahoma  cities.  With  regard  to 
the  report  cards,  which  must  be  mailed  to  Washington 
after  each  showing,  suffice  it  to  say  that  the  more  reports 
mailed,  the  more  films  will  be  deposited  in  Oklahoma 
for  use.  A  quantity  of  cards  is  included  with  every 
shipment. 

The  College  Co-ordinator 

The  College  War  Film  Co-ordinators  are  appointed 
by  the  Presidents  of  Oklahoma  colleges.  Their  respon- 
siblities  are  :  ( 1 )  To  advise  student  organizations  and 
clubs  of  the  films  which  are  available;  (2)  To  arrange 
for  general  campus  showings ;  (3)  To  book  films  desired 
for  the  college  campus  from  the  nearest  or  preferred 
library;  and  (4)  To  assure  the  return  of  the  govern- 
ment report  card  to  Washington. 

Student  groups  use  the  war  films  in  a  number  of 
interesting  ways.  On  one  campus  a  men's  dormitory 
shows  films  for  20  to  30  minutes  at  their  regular  weekly 
assembly  and  then  has  a  panel  or  speaker  follow  with 
analysis  and  comments  on  the  subject ;  another  group 
opens  and  closes  each  meeting  with  a  war  film.  In 
general,  the  suggestions  for  program  use  are  applicable 
to  the  campus. 

Professors  are  quick  to  adapt  the  material  presented 
by  films  related  to  their  courses.  In  one  instance,  a 
complete  course  for  college  credit  is  planned  with  the 
war  films  as  the  basis.  The  outline  follows  the  topics 
of  the  pictures.  A  series  of  class  meetings  will  be  held 
on  :  ( 1 )  the  theatres  of  war  ;  ( 2)  our  armed  forces  ;  (3) 
the  home  front,  and  (4)  the  United  Nations. 

A  great  deal  of  information  is  already  available  for 
the  use  of  the  Co-ordinators.  Most  of  it  is  mailed  to 
the  Co-ordinator  upon  receipt  of  his  appointment. 
Additional  material  may  be  obtained  from  time  to  time 
by  writing  to  the  State  War  Film  Co-ordinator.  The 
following  free  materials  are  available:  (1)  Mimeo- 
graphed releases  by  the  Oklahoma  film  libraries;  (2) 
List  of  United  States  War  Information  Films  (periodi- 
cal), Ofifice  of  War  Information,  Bureau  of  Motion 
Pictures.  Washington,  D.  C. ;  (3)  The  Other  Americas 
Through  Films  and  Records.  American  Council  on 
Education.  Washington,  D.  C.  (1942)  :  (4)  Films  for 
Defense,  United  States  Ofifice  of  Civilian  Defense. 
Washington,  D.  C.  (O.C.D.  Publication  No.  3620); 
(5)  28"  X  44"  lobby  posters  from  the  State  Co-ordina- 
tor, and  (6)  8>4"  x  11"  dodgers  from  the  State  Co- 
ordinator. 


April,   1943 


Page   131 


Audio  Visual  Aids  at  Work  in 
Signal  Corps  Training 


ASKVEX  thousaiul  five  hundred  dollar,  cello- 
phane-wrapped cutaway  motor,  parts  of  Diesel 
motors  worn  in  actual  use,  and  made-to-order 
glass  slides  are  among  the  many  audio-visual  aids 
used  at  the  Electronics  Power  School  of  the  Lexington 
Signal  Depot,  huge  Signal  Corps  training  center  and 
depot  at   Lexington,   Kentucky. 

Part  of  a  training  program  active  in  thirty-eight 
states,  this  school  is  only  one  of  the  Post  Schools  under 
the  direction  of  Colonel  Laurence  Watts,  Depot  Com- 
manding Officer.  Hundreds  of  Signal  Corps  men 
have  been  trained  in  the  repair,  assembly,  and  main- 
tenance of  internal  com- 
bustion motors,  electric 
motors,  transformers,  gen- 
erators and  other  equipment 
used  to  furnish  power  to 
communications  devices  in 
the  field  of  action. 

In  every  thousand  men 
inducted  into  the  armed 
forces,  a  minimum  of  fif- 
teen must  be  radio  o])era- 
tors  and  mechanics.  The 
meager  supply  of  men  al- 
ready trained  in  this  field 
— .service  men  and  "ham" 
operators — was  exhausted 
long  l)efore  the  Selective 
Service  system  began  to  dip 
into  manpower  reserves. 
This  left  raw  recruits  to  be 
turned  into  efficiently 
trained  communications  ex- 
perts overnight ;  to  accom- 
plish this  training,  the 
Signal  Corps  greatly  ex- 
jjanded  its  peacetime  pro- 
gram by  enlarging  old 
plants  and  building  new  ones. 

Major  W.  Gayle  Starnes,  former  D.V.L  president 
and  University  of  Kentucky  profess(jr  in  audio-visual 
education,  headed  the  organization  of  the  training  ])ro- 
gram  at  the  Lexington  Signal  Depot.  The  Electroiiics 
Power  Supply  School  is  but  a  small  part  of  the 
whole  training  program  at  this  Depot,  but  it  pre- 
sents a  representative  picture  of  the  wide  use  of 
audio-visual  aids  carried  out  there. 

The  use  of  audio-visual  aids  was  not  accidental, 
but  was  the  result  of  a  long-range,  carefully-planned 
program.  Time  and  thoroughness  were  the  two  most 
important  considerations  in  the  training  of  Signal 
Corps  personnel,  and  Major  Starnes  at  the  outset  de- 
clared his  intention  to  use  audio-visual  aids  to  the 
fullest  to  attain  these  goals.  After  combing  the  field 
for  valuable  aids,  the  curriculum  was  built  with  these 
aids  integrated  with  subject-matter. 


Cutaway  internal  combustion  motor  used  in  instruction 


Visual  materials  and  methods  as  used  at 
the  Lexington  Signal  Depot,  one  of  the 
Post  Schools  of  the  U.  S.  Signal  Corps. 

GORDON    C.    GODBEY 

Training  Literature  and  Aids 
Lexington,  Kentucky 

The  him  service  of  the  University  of  Kentucky, 
under  the  direction  of  Louis  Clifton,  was  made  avail- 
able to  the  training  program.  From  this  service 
many  motion  jiictures  were  obtained  for  introductory 

or  back-ground  material, 
including  such  subjects  as : 
"Molecular  Theory  of  Mat- 
ter," "Electrons,"  "Mag- 
netic Effects  of  Electricity," 
"Four- stroke  Cycle  Gas 
Engine"  and  others.  Motion 
pictures  of  a  problem- 
solving  nature  were  selected 
from  the  Basic  Field  Man- 
ual issued  by  the  War  De- 
partment. These  motion 
pictures  were  procured  for 
the  library  of  the  Literature 
and  Aids  Section  of  the 
Depot  and  made  available 
to  the  schools  on  call. 
.Several  film-strip  sets 
dealing  with  subject  mat- 
ter of  the  curriculum  were 
also  found  in  the  Field 
Manual. 

After  careful  selection  of 
audio-visual  aids  for  the 
training  ])rogram,  the 
Training  Division  took  steps 
to  insure  proper  use  of 
these  aids.  Clyde  Wilson,  civilian  director  of  the 
Electronics  Power  Supply  School,  directed  the  in- 
structors to  preview  visual  materials  and  to  analyze 
them  for  .salient  points.  Students  were  prepared  for 
the  showing  of  motion  pictures  and  film  strips ;  in- 
.structors  often  lectured  briefly  during  a  silent  showing 
and  called  attention  to  pertinent  facts  or  stopped  the 
showing  to  call  attention  to  parallel  action  in  lab- 
oratory apparatus :  and,  almost  without  exception, 
examinations  followed  showings,  so  that  audio-visual 
materials  definitely  meant  study — not  entertainment — 
to  the  trainees. 

Very  few  slides  available  were  found  to  be  ap- 
plicable to  the  particular  training  course  at  the  Elec- 
tronics Power  Supply  School.  On  ascertaining  this, 
Mr.  Wilson  called  the  instructors  and  supervisors  to- 
gether, gathered  their  ideas,  and  sent  an  order  for  sets 
of  glass  two-by-two  inch  slides  to  the  Literature  and 


Page   132 


The  Educational  Screen 


Slide  material — left,  method  of  tracing  movement  of  fuel  in  motor;  right,  gear  lock  on  the  Caterpillar  Diesel. 


Aids  Section.  Lieutenant  Coleman  E.  Altord  and 
Nicholas  W.  Williams,  military  and  civilian  heads  of 
the  section  respectively,  set  photographers  and  drafts- 
men to  work  on  the  job  and  produced  the  needed  slides 
in  less  than  eight  hours  of  steady  work. 

Another  service  provided  by  the  Literature  and  Aids 
Section  was  the  jjroduction  of  "blow-ups."  forty  by 
sixty  inches,  on  heavy  white  cardboard.  These  repre- 
sented enlargements  of  intricate  parts  of  apparatus 
being  studied.  Frequently  several  colors  were  used  to 
distinguish  wires,  small  parts,  or  action  of  explosions, 
electronic  movement,  etc.  Charts  of  similar  size  show- 
ing application  of  principles  of  physics,  or  mathe- 
matical formulae,  were  also  made  and  used  in  the 
school. 

Not  content  with  visual  aids  in  two  dimensions,  Mr. 
Wilson  arranged  with  General  Motors  Corporation 
for  the  cut-away  motor  previously  mentioned.  This 
motor  showed  the  action  of  all  moving  parts  of  a 
motor  and  was  much  used  in  class  work.  A  Diesel 
motor  in  sections  was  secured  from  the  Cummings 
Diesel  Company,  together  with  parts  subject  to  ex- 
cessive wear,  all  properly  labeled  to  show  points  of 
strain.  Models  to  scale  of  other  units  were  used  in 
teaching,  some  being  constructed  so  that  each  separate 
part  could  be  taken  off  and  discussed. 

The  aid  considered  best  in  teaching  was.  as  might 
have  been  ex])ected.  the  actual  equipment  with  which 
men  would  work  in  service.  Laboratory  work  was 
centered  around  motors,  generators,  transformers,  and 
the  units  and  parts  that  make  them  up. 

The  use  of  audio-visual  aids,  important  as  it  was  to 
the  training  program,  did  not  end  in  the  classroom.  In 
an  effort  to  supply  wholesome  recreation  and  enter- 
tainment to  the  trainees,  motion  pictures  from  the 
University  of  Kentucky  film  library  were  shown  after 
working  hours  or  at  other  leisure  moments.  These 
pictures  were  selected  dramatic  productions  and 
travelogs.  Morale-building  pictures  on  patriotic  themes 
were  also  shown. 

Signal  Corps  men  are  scattered  over  the  globe  with 


the  American  fighting  forces ;  sprinkled  in  among  them 
are  graduates  from  the  Lexington  Signal  Depot's  Elec- 
tronics Power  Supply  School.  It  is  a  matter  of  record 
that  they  are  advancing  in  rank  and  performing  well 
their  vital  tasks,  wherever  they  may  be.  Audio-visual 
aids  are  doing  a    large    part    to    get    the    message 

THROUGH. 


Weekly  United  Nations  Film  Programs  in  Chicago 

The  following  films  on  the  United  Nations  are  sched- 
uled for  showing  at  the  International  Relations  Center. 
84  East  Randolph  Street.  Chicago : 

April  20:  Ordinary  People  (courage  with  which 
Londoners  withstood  the  Blitz)  ;  Brazil.  Mexican 
Moods  (two  films  from  the  Office  of  the  Coordina- 
tor of  Inter-.\merican  Affairs);  The  Argentine 
Question ;  Battle  of  Brains*.  ( the  scientist  as  a  deviser 
of  victory)  ;  Battleships*  (a  tour  of  (H.M.S.  King 
George  V). 

April  27 :  Jane  Broivn  Changes  Her  Job  (a  clerical 
worker  gets  a  job  in  an  aircraft  factory)  :  Jl'omcn  Arc 
Warriors  ( women  of  the  United  States  mobilize  for 
war)  ;  Five  and  Under  (caring  for  children  whose 
mothers  work  in  factories)  :  The  Price  of  Victory* 
(Vice-President  Wallace  speaks  on  freedom)  ;  Tools  of 
Jl'ar*    (the  arsenal   behind   the  allies.) 

Among  the  films  to  be  shown  on  future  programs  are 
Smoke  and  Steel  (production  of  munitions)  ;  Strategy 
of  Metals  (how  lack  of  essential  war  metals  has  in- 
fluenced Nazi  campaign  plans)  ;  fighting  Ships  (em- 
phasizing importance  of  ma.ximum  production)  ;  Negro 
Colleges  in  IVartinie. 

These  film  programs  are  presented  every  Tuesday 
at  12:45  noon  and  again  at  7:30  P.M.  (*  Indicates  ad- 
ditional titles  included  in  evening  showing.)  The  sub- 
jects are  selected  from  the  libraries  of  the  Office  of 
\^'ar  Information.  British  Information  Services,  and 
National  Film  Board  of  Canada. 


April,   1943 


Page   133 


MOTION  PICTURES- 


Part    46. — Department    store   auditoriums    and 
-   shop  window  displays  are  among  the  many  out- 
lets   for    non-theatrical   iilms.     History    shows 
-k  T^^m     T-i^^T^      t-m  TT""   7T   T>"n>"nO    *^°^  ®***=^  ^°'  ***  °^  specialized  technique 

NOT  FOR  THEATRES 


By    ARTHUR    EDWIN    KROWS 


Return  of  the  Store  Show 

TURNING  now  to  a  commercial  divi- 
sion, where  sentiment  is  admittedly 
less  potent  as  a  force  in  obtaining 
desired  results,  there  may  be  noticed  a 
few  efforts  to  realize  the  distribution  pos- 
sibilities of  the  nation's  department  stores. 
The  constructive  idea  of  organizing  these 
as  a  chain  of  exhibition  places  primarily 
for  a  regular,  recurring  service  of  adver- 
tising films,  first  burst  upon  some  enter- 
prising promoter's  brain  years  ago.  In  the 
irjterval  since,  many  undertakings  to 
realize  the  dream  liave  stumbled,  on  the 
way,  into  the  abyss  of  failure.  Most 
of  the  enterprises  have  not  even  appeared 
\n  the  records,  chiefly  because  they  have 
been  too  insignificant  in  an  attempt  wliich 
takes,  in  addition  to  vision,  capital  with 
a  lung  sustained  iwwcr.  The  concept  of 
department  store  exhibition  has  not  even 
yet  been  well  provided.  It  still  requires 
tests,  and,  for  that  matter,  test  materials, 

t(M>. 

The  most  persistent  attempts  in  the  be- 
ginning were  probably  made  by  the 
garment  trades,  inspired  by  seeing  the 
favorable  public  reaction  to  fasliion  se- 
quences in  the  theatrical  newsreels.  That 
show  in  Harris-Emery's  department  store 
in  Des  Moines,  in  September,  1916, 
featured  a  screening  of  Pathe's  fashion 
pictures.  Those  belonged  to  a  new  series 
produced  under  the  direction  of  Florence 
Rose,  who  had  been  engaged  about  three 
months  earlier  to  conduct  a  style  depart- 
ment regularly  in  "Pathe  News."  The 
"Hearst- Selig  News  Pictorial"  had 
started  a  fashion  department  under  Lady 
Duff-Gordon  as  early  as  March,  1915,  and, 
in  September  of  that  same  year,  World 
Film  Corporation,  lieaded  by  the  ever- 
adventurous  William  A.  Brady,  had 
photographed  Mrs.  Belle  Armstrong 
Whitney's  Fashion  Show  current  at  the 
George  M.  Cohan  Theatre  in  New  York. 
The  idea  was  caught  up  first  by  the 
women''  dress  goods  houses,  then  by  the 
milliners  and  next  by  the  furriers.  .Adolph 
/ukor  had  been  a  furrier.  Who  knows 
but  that  the  circumstance  was  partly 
responsible  for  turning  men  of  his  old 
trade  to  this  dangerously  alluring  out- 
s'de  scheme? 

Even  in  such  si)oradic  and  generally 
unsatisfactory  efforts,  as  were  made  in 
this  line,  there  were  many  lessons  to  be 
learned ;  and  some  day  someone  may 
garner  a  harvest  of  useful  experience  by 
bringing  them  together.  For  example, 
the  store  owner  found  unexpected  dif- 
ficulties in  providing  a  place  for  the  show. 
There  were  also  the  necessary  darken- 
ing of  the  room ;  cluxjsing  the  advisable 
day  and  hour ;  the  problem  of  panic 
hazards  (even  greater  than  those  of  fire)  ; 
\entilation ;  what  constituted  comfortable, 
safe  and  efficient  seating  for  transient 
spectators ;  how  the  neighboring  theatre 


owner  felt  about  it  all ;  and  the  necessary 
"tie-up"  between  the  buying  desire,  pre- 
sumably aroused  by  the  exhibition  on  the 
screen,  and  the  convenience  of  the  actual 
gotxis,  which  might  be  on  the  upper  floor 
when  the  show  was  in  the  basement.  It 
was  a  new  apparatus  which  the  store 
owner  was  endeavoring  to  use,  and,  re- 
sembling the  teacher  with  unfamiliar  in- 
struments of  visual  instruction,  he  had  to 
fit  it  into  his  previously  accustomed 
scheme  of  operation. 

For  the  advertisers  who  tried  to  utilize 
the  opportunity  there  was  the  painful  dis- 
covery that  color  was  vitally  needed  for 
attractive  screen  presentations  of  many 
articles,  with  corresponding  increases   in 


The  Eastman  Business  Kodascope 
was  a  promotion  of  the  early  30's. 
Projection  was  against  rear  of  the 
case  that  contained  it  while  standing 
directly    on    the    customer's    desk. 

production  and  print  costs ;  that  audiences 
in  department  stores  are  preponderantly 
women  and  children,  with  less  desire  to 
see  a  show  than  to  sit  briefly  during  their 
shopping  tours  to  rest ;  that  many  prints 
were  needed  to  cover  the  country  be- 
cause styles  changed  too  rapidly  for  any 
store  to  wait  for  the  picture.  .MI  store 
owners  wished,  indeed,  to  be  ahead  of  the 
fashion.  But  I  am  trying  not  to  submit 
a  complete  list  of  these  many  consider- 
ations, merely  to  indicate  their  kind  and 
special  character. 

Late  in  1921  an  important  trade  paper, 
the  Dry  Goods  Economist,  seemed  to 
have  succumbed  to  the  fascination  of  the 
idea,  and  was  believed  to  have  backed 
an  enterprise  separately  organized  in 
New  York  City  in  the  spring  of  1922,  the 
Economist   F'ilm   Service.     For  purposes 


of   operation   this   latter  concern   secured 
forty-five  Pathescopes. 

But,  despite  all  difficulties,  the  depart- 
ment store  field  has  drawn  an  increas- 
ing mmiber  of  organizati<ins  to  serve 
it  and,  in  recent  seasons,  their  determin- 
ation to  become  established  there  has  been 
extraordinary.  The  National  Retail  Dry 
Cjoods  .Association — known  to  the  trade 
most  of  the  time  as  the  N.R.D.G.A — 
has  discussed  film  projects  for  this 
purpose  at  virtually  every  convention  in 
the  past  dozen  years.  .\i  its  New  York 
City  convention  in  January,  1933,  demon- 
stration space  was  taken  by  a  concern 
called  Mutual  Films — not  to  be  confused 
with  the  celebrated  Mutual  Film  Corpor- 
ation of  a  score  of  years  earlier.  It  was 
addressed  at  729  Seventh  .\ venue  and  was 
described  as  specializing  in  producing 
department  store  style  films,  providing  all 
necessary  equipment  therefor.  On  the 
same  occasion  the  sales  promotion  division 
of  the  Association  made  a  report  recom- 
mending the  more  extended  use  of  films 
of  this  sort  by  its  members,  confirming 
those  encouraging  views  concerning  sales 
and  personnel  training  pictures,  which  had 
been  expressed  at  the  convention  in 
February,    1930. 

In  the  early  summer  of  1935,  Fashion 
Magazine  of  the  Screen  Corporation,  of 
New  York,  presented  at  Macy's  in  that 
city,  the  first  of  an  announced  series  of 
twelve  two-reel,  16mm  talking  pictures 
for  department  stores,  jjroduction  directed 
by  Lem  F.  Kennedy.  They  were  to  be 
1  eleascd  monthly  to  one  store  in  each  city, 
and  it  was  stated  that  nearly  one  hundred 
emporiums  had  signed  to  present  them. 
The  opening  number  "dramatized"  various 
nationally  advertised  products,  including 
Underwood  Typewriters,  Oshkosh  Lug- 
gage, Simmons  ^tattresses.  Viscose  Yarn, 
Kathleen  Mary  Quinlan  Cosmetics,  Ivory 
MaVcs,  H.  &  W.  Corsets  and  a  number 
of  dress  lines.  President  of  the  company 
was  Louis  Uri)ang.  So  far  as  I  am 
able  to  determine,  the  announced  series 
was  not  completed. 

The  idea  had  considerable  merit,  how- 
ever. It  closely  resembled,  and  may  even 
have  been  inspired  by.  a  plan  originated 
and  proposed  about  1930  to  several  non- 
theatrical  producers  in  New  York  City  by 
a  Miss  Stuart,  a  specialist  in  interior 
decoration. .  Her  engaging  thought  was  to 
teach  the  principles  of  home  furnish- 
ings, using  as  illustratioTis  standard  pro- 
ducts supplied  in  combination  by  adver- 
tisers, who,  of  course,  would  contribute 
their  respective  shares  in  defraying  the 
costs  of  production  and  distribution.  What 
blocked  realization  of  that  scheme  vvas 
that  the  advertisers  would  not  participate 
without  assurance  of  circulation,  and  cir- 
culation could  not  be  assured  without 
proofs  of  advertising  support.  Just  another 
instance  of  a  very  familiar  vicious  circle 
in  the  non-theatrical  field.    The  dream  of 


Page   134 


The  Educational  Screen 


a  department  store  circuit  will  probably 
be  realized  some  day,  because  it  persists. 
In  January,  1938,  the  magazine  House 
Beautiful  was  reported  to  be  producing 
a  film  on  housewares  for  department  store 
exhibition,  and  I  have  no  doubt  that  other 
projects  of  the  sort  are  in  embryo  at  this 
very  moment. 

Store  circuits  which  have  develoi)ed 
more  noticeably  have  been  in  show  r(3onis 
of  the  automobile  dealers  chains.  In  the 
first  place,  the  automotive  field  is  richly 
supplied  with  reels  explaining  the  parts 
and  advantages  of  the  various  leading 
makes ;  in  the  second,  they  depend  for 
promotional  ideas  and  exploitation  devices 
on  the  trained  advertising  men  who  work- 
up the  interrelated  forms  and  send  them 
forth  from  the  manufacturers'  own  head- 
quarters. The  Ford,  General  Motors 
and  Chrysler  organizations  all  are  heavy 
providers  of  such  films.  In  the  lesser 
communities  tlie  preferred  auto  sales  ap- 
paratus is  slide-film ;  but  there  is  no 
lack  of  appreciation  of  the  more  elaborate 
setup.  The  local  manager  works 
earnestly,  and  usually  with  success,  to 
have  the  available  motion  picture  reels 
projected  as  educational  items  in  the 
neighborhood  theatres. 

Birth  of  the  Ampro 

The  shop  window  circuit  once  bade 
fair  to  flourish  especially  m  the  years 
beginning  about  1925.  The  credit  for 
that  must  go  primarily  to  the  Capitol 
Continuous  Projector,  originated  by 
William  C.  Raedeker  and  associates, 
which,  by  an  ingenious  and  efficient 
operating  principle,  ran  its  film  end- 
lessly with  a  minimum  of  wear  and 
tear  and  a  high  assurance  of  safety. 
The  film,  fed  back  into  the  middle  of 
the  reel,  was  16mni,  all  housed  in  a 
cabinet  or  case,  a  small  screen  being 
attached  and  set  in  a  shadow  box  for 
visibility  in  sunlight.  Full  capacity 
(rarely  approached  )provided  sufficient 
of  the  narrow  film  to  meet  concentrated 
spectator  attention  for  nearly  an  hour. 
But  the  sponsors  here  also  had  to  learn 
special  techniques.  Crowds  stopping  to 
view  one  of  these  window  shows  im- 
peded traffic,  blocked  the  window,  and 
frequently  obstructed  the  entrance  to 
the  shop.  Spectators  in  such  situations, 
therefore,  should  not  be  held  too  long; 
certain  experimenters  hold  that  one 
minute  is  the  advisable  limit.  But 
many  of  the  advertisers  who  booked 
in  on  the  Capitol  circuit  owned  in- 
dustrial reels  which  had  been  circu- 
lated successfully  for  them  by  the 
Y.M.C.A.  Motion  Picture  Bureau,  per- 
haps, and  the}-  could  not  see  why 
these  same  subjects  should  not  be 
just  as  eflfective  here  without  compres- 
sion. 

Reference  to  the  Capitol  calls  for 
some  intercalary  text  because  out  of 
the  experience  earned  in  producing 
and  developing  that  projector  arose  the 
Ampro,  one  of  the  most  highly  es- 
teemed machines  in  non-theatrical  use 
today.  Walter  E.  Greene,  an  early  as- 
sociate of  Hiram  Abrams  at  Para- 
mount and  founder  of  American  Re- 
leasing Corporation,  had  become  interested 


In  1925  the  U.S.  Government  purchased  a  number  of  Capitol  Projectors. 
Here  is  the  then  Secretary  of  the  Navy,  Lyman  H.  Wilbur,  examining 
a  specimen  machine  just  acquired  by  the  Department  of  Agriculture. 


in  the  Capitol  to  the  extent  of  invest- 
ing upwards  of  $100,000  in  its  promo- 
tion. -As  the  market  response  proved 
unsatisfactory  to  him,  he  decided  to 
withdraw,  and  James  Gausman,  the 
Treasurer,  arranged  for  additional  fi- 
nances for  the  corporation  from  new 
people.  L.  R.  Wasey  of  the  Erwin 
Wasey  .Advertising  Agency,  who  saw 
the  possibilities  of  this  method  in  pro- 
moting advertising,  was  one  of  the  new 
investors,  and  lie  placed  a  sizeable  order 
for  the  machines  to  develop  the  pro- 
posed field.  Thus  is  said  to  have  been 
returned  to  Greene  a  large  part  of  his 
investment.  However,  this  method 
of  advertising  was  new  and  the  adver- 
tising agencies  were  cautious  in  recom- 
mending to  their  clienteles  the  benefits 
and  advantages,  and  finally  the  Capitol 
company  liquidated  and  abandoned  the 
enterprise  in  1927. 

From  1924  to  1927  the  Capitol  was 
manufactured  by  the  Universal  Stamp- 
ing and  Manufacturing  Company,  a 
large  factory  in  Chicago  operated  by 
.Axel  .A.  Monson.  He  had  his  own 
ideas  about  non-theatrical  opportuni- 
ties and  with  this  latest  setback  to  the 
Capitol,  he  decided  not  to  lose  the 
benefits  of  experience  already  gained 
So  in  1927  he,  together  with  his  chief 
engineer.  -A.  Shapiro,  began  working 
on  a  machine  which  was  to  become 
known  as  the  .Ampro.  Between  them 
they  ironed  out  the  problems  in  the 
design  for  practical  production  and 
after  costly  and  extensive  tests,  it  was 
reported  ready  late  in  1929. 

From  1930  to  1934  experiments  were 
conducted  to  provide  a  sound  repro- 
ducing model  and  this  presently  ap- 
peared under  the  name  "Amprosound." 

The  .Ampro  Corporation  remained 
organized  as  a  subsidiary  selling  com- 
pany until  1940  in  which  year  the  Uni- 
versal Stamping  and  Manufacturing 
Company     itself     assumed     the     name. 


The  .Ampro  projector  was  introduced 
to  the  public  through  its  own  sales  de- 
partment under  the  guidance  and  su- 
pervision of  Harry  Monson,  son  of  the 
founder.  Since  that  time  distributors 
and  dealers  have  been  cstablislied  all 
over  the  United  .States  and  in  some  forty 
foreign  countries.  In  charge  of  the  N'ew 
York  territory  is  Frank  Rogers,  especi- 
ally well  known  to  the  theatrical  field 
for  his  admirable  service  as  an  Erpi  man- 
ager when  Western  Electric  sound  pic- 
tures arrived. 

.A  commercial  film  distribution  plan 
which  seems  to  have  had  constructive  pos- 
sibilities was  announced  from  the  New 
York  headquarters  of  the  National  .As- 
sociation of  Manufacturers  June  24,  1923. 
With  reasonable  cooperation  on  the  part 
of  member  industrialists  it  might  have 
succeeded.  The  only  serious  drawback 
discernible  to  me  was  that  it  aimed  in 
large  measure  to  duplicate  service  already 
rendered  by  the  Y.M.C.A.  ,  the  Bureau 
of  Commercial  Economics,  and  smaller, 
regional  distributors  of  "free"  films.  It 
is  more  than  likely  that  many  owners  of 
industrial  pictures  |)referred  not  to  dis- 
turb their  arrangements  currently  and 
.satisfactorily  in  force  with  these  agencies. 
Something  to  do  with  their  reluctance 
may  have  been  a  fear  of  stirring  dis- 
content among  workers  in  one  line  by 
having  tliem  see  pictures  of  more  at- 
tractive   labor  conditions    in   another. 

Trade  associations  commonly  have 
little  power  in  themselves,  save  in  periods 
of  defense,  when  the  full  strength  of 
membership  is  thrown  behind  them.  In 
peaceful  intervals  the  executive  officers 
are  frequently  hard  put  to  keep  going.  But 
the  situation  is  different  when  the  assoc- 
iation holds  property  of  some  sort  in 
wliicli  all  members  have  a  community  in- 
terest. It  may  take  the  form  of  a  trade 
school,  possibly,  or  an  intlustrial  found- 
ation, or  revenue-bearing  investments.  It 
does  not  seem  to  matter  especially  what 


April,   1945 


Page   135 


it  is  as  long  as  the  members  are  made 
anxious  for  its  continuance  and  for  that 
reason  actively  support  the  association 
even  in  peaceful  times.  A  system  of  dis- 
tributing motion  picture  programs  is  an 
obvious,  if  not  tremendously  important, 
opportunity  to  create  a  community  interest 
of  the  required  type,  especially  when — 
as  in  the  case  of  the  National  Association 
of  Manufacturers — nearly  all  of  the  lead- 
ing members  individually  own  industrial 
reels  of  definite  value. 

The  N.A.M.  plan  here  was  not  just  to 
supply  films  to  the  member  groups,  the 
-Association  headquarters  acting  as  clear- 
ing-house for  the  reels  owned  by  difTercnt 
companies,  but  it  was  to  find  public  out- 
lets in  those  local  places  "such  as 
churches,  schools  and  dub.s"  where  such 
exhibitions  were  desired.  Hence  the  plan 
was  broadly  described  as  "a  national, 
non-commercial  motion  picture  service  to 
supply  public  and  private  exhibitors  with 
educational  and  .Americanization  films.  . . 
to  be  free,  and  in  the  general  interest 
of  industrial  education  and  industrial 
betterment."  It  was  "to  be  made  possible 
by  the  cooperation  of  all  State  manu- 
facturing associations  in  pivotal  sections, 
with  the  National  Association,  whose 
headquarters  are  in  New  York."  Pictures 
were  to  be  rotated  throtigh  the  regional 
centers  each  month,  thus  changing  the 
programs  available  in  each  locality  twelve 
times  a  year. 

If  mutual  benefit  associations  could  be 
continuously  alive,  an<l  were  not  obliged 
by  the  natural  indolence  of  mankind  to  go 
into  long  seasons  of  hibernation,  they 
could  do  a  great  deal  to  develop  the  non- 
theatrical  field  merely  by  arranging  ef- 
ficient distribution  of  their  own  propa- 
Kan<la  through  their  own  members,  not 
to  speak  of  advantages  of  cooperative 
buying  of  material.  .And  this  does  not  ap- 
ply only  to  trade  circuits.  The  .Audubon 
Societies,  Societies  for  the  Prevention  of 
Cruelty  to  Animals,  and  Humane 
Societies,  could  make  a  century  of  pro- 
gress in  public  education  if  they  would 
pioperly  avail  themselves  of  that  rich 
library  of  nature  films  which,  in  t'eb- 
ruary,  1936,  was  exhibited  in  240  suc- 
cessive reels,  or  twenty-two  miles  of 
celluloid,  at  the  .American  Wild  Life 
Conference   in   Washington. 

Many  stxrieties  have  tried  to  overcome 
their  own  promotional  film  inertia  with 
various  ingenious  arrangements ;  but  the 
idea  of  developing  a  membership  motion 
picture  circuit  just  does  not  seem  to  work 
for  any  considerable  time.  The  Society 
of  Mechanical  Engineers  has  its  films.  So 
have  the  Izaak  Walton  League  of 
.American  and  the  Wild  Flower  Preser- 
vation Society.  But  their  distribution,  such 
as  it  is,  comes  mainly  through  the  general 
distribution  libraries,  rarely  through  their 
own   centers. 

The  magazine  Field  &  Stream,  when 
William  Beecroft  (who  had  two  brothers 
active  in  the  theatrical  motion  picture 
indu.stry)  was  on  the  editorial  staff,  lent 
its  influence  to  the  distribution  of  films 
on  lumting  big  game,  subjects  generally 
otherwise  impossible  then  for  recreational 
clubs  to  obtain ;  but  even  that  proved 
insufficient  to  bring  about  a  proper  sup- 
port among  those  who  should  have  been 


expected  to  extend  it  first.  Nevertheless, 
that  celebrated  sports  magazine  has  con- 
tinued producing  new  subjects ;  and  it  is 
stated  that,  after  about  twenty  years,  they 
now  represent  an  investment  of  approxi- 
mately $75,000.  Several  of  the  outstand- 
ing items  in  the  collection  were  photo- 
graphed by  Harold  McCracken  in  his 
honor  status  as  associate  editor  of  the 
publication.  More  are  Pathe  subjects,  pro- 
duced with  technical  supervision  by 
Field  &■  Stream's  regular  editors ;  and 
still  others  are  the  work  of  wealthy 
sportsmen,  made  on  their  private  expedi- 
tions. The  item  entitled  "Hunting  the 
Wary  Black  Mallard  on  Long  Island" 
presents  Eltinge  F.  Warner,  himself, 
editor  and  publisher  of  Field  &  Stream, 
in  action  with  his  gun.  An  interesting 
rental  arrangement,  permitting  use  of 
these  reels  to  those  who  may  not  be 
attracted  by  the  regulation  fees,  provides 
one  16mm  reel  for  a  given  number  of  new- 
subscriptions    to   the    magazine. 

The  Extreme  Position 

It  is  proof  of  the  perspicacity  of  Wil- 
lard  Cook,  one  of  the  canniest  men  ever 
to  step  into  this  fantastic  business,  that 
over  the  years  prior  to  his  retirement 
from  Pathescope,  he  contented  himself 
with  selling  exclusively  the  materials  for 
distribution — the  films  and  the  projection 
equipment — scrupulously  avoiding  the 
popular  temptation  to  sell  distribution,  it- 
self. A  client  could  have  a  film  produced 
through  the  Pathescope  industrial  di- 
vision, and  Cook's  profits  were  all  in  the 
price  he  was  paid  for  that.  Circulation 
was  the  customer's  problem.  Cook  washed 
his  hands  of  that  phase,  doubtless  because 
he  knew  that  non-theatrical  distribution, 
in  any  sound  commercial  sense,  did  not 
exist.  At  any  rate,  it  was  insufficiently 
organized  to  he  dependable. 

Yet,  after  all,  the  customer  was  not 
so  much  interested  in  merely  having 
a  picture.  He  wanted  it  shown;  and 
the  more  places  in  which  he  might  be 
assured  of  its  exhibition,  the  more  he 
would  be  willing  to  pay  for  it.  It  re- 
-sembled  advertising  in  a  magazine.  The 
form  of  the  ad  was  important,  of  course; 
but  what  the  advertiser  was  really  buy- 
ing from  the  publisher  was  circulation. 
Cook  might  shrug  his  shoulders  and  turn 
away  from  this  obvious  opportunity  for 
profit,  but  others  were  not  so  analytical. 
Besides,  if  clients  were  willing  to  pay  for 
circtdation,  there  must  be  a  way  to  assure 
circulation — and  the  only  way  to  find  it 
was  to  try  it.  A  reasonable  approach  was 
through  a  process  of  elimination.  The 
non-theatrical  field  had  generally  declined 
to  rent  reels  at  a  reasonable  figure. 
That  difficulty  had  been  overcome  by 
giving  customers  reels  for  nothing ;  but 
even  on  that  basis  there  had  been  no 
fair  guarantees  which  would  make  pro- 
duction worth  while.  Why  not,  therefore, 
take  the  next  step  and  pay  the  exhibitor 
to  run  the  picture?  A  crazy  idea,  if 
you  like,  but   it  could  be  done. 

That  put  the  shoe  on  the  other  foot,  in 
a  manner  of  speaking.  The  exhibitor  was 
no  longer  buying  something  from  the  dis- 
tributor ;  the  distributor  was  on  the 
purchasing  end,  and  not  now  to  be  dis- 
missed as  a  mere  peddler.    He  now  could 


choose  and  demand  in  turn.  And  he  did 
it  by  picking  as  his  customers  the  men 
who  serve  the  most  dependable  audiences 
of  all,  the  managers  of  the  neighborhood 
theatres.  When  suitable  arrangements 
had  been  made  with  neighborhood  theat- 
rical men  to  this  end,  the  distributor 
of  propaganda  and  advertising  films  was 
able  to  sell  circulation  to  his  client  at 
so-much  per  showing,  and,  if  the  contract 
called  for  a  large  number  of  screenings, 
it  was  worth  while  to  make  the  original 
production  at  virtual  cost,  or  even  less. 
The  profits  were  not  now  in  that  phase. 
This  was  not  to  say,  however,  that  the 
production  was  unimportant.  The  more 
professional  the  quality,  the  easier  it 
was  for  the  exhibitor  to  include  it  in  his 
program,  for,  of  course,  it  had  to  "get 
by"  the  audience.  Many  advertising  pro- 
ductions made  for  this  sort  of  distri- 
bution have  used  in  their  casts  current 
favorites  among  the  Hollywood  stars,  and 
celebrated  directors  and  cameramen. 

The  scheme  was  nothing  new  to  the 
theatrical  exhibitor.  In  the  very  early 
days  of  motion  pictures,  the  major  pro- 
ducers regularly  made  "commercials"  and 
rented  them  to  the  theatres.  Exhibitors 
soon  protested  that  arrangement,  and  the 
reader  will  remember  that  the  old  Patents 
group  gave  notice  in  1910  that  advertis- 
ing pictures  should  not  be  screened  during 
regular  performances.  But,  when  the  pay 
for  running  the  advertising  subject  came 
to  the  average  exhibitor,  it  became  a 
different  story.  He  wasn't  so  sure,  then, 
that  the  practice  was  as  unfair  to  the 
audience  as  he  had  said  when  distributor 
and  producer  made  all  the  profit.  And 
even  those  exhibitors  who  honestly  be- 
lieved that  the  inclusion  of  an  adver- 
tising reel  was  faking  undue  advantage 
of  their  patrons,  were  commonly  willing 
to  waive  the  point  if  some  personage  in 
the  neighborhood  would  ask  the  favor.  In 
tliat  case,  if  complaints  developed,  some- 
body else  also  known  to  the  community 
was  taking  the  responsibility. 

It  was  frequent  then,  as  it  is  now, 
for  some  influential  resident  to  bring  a 
few  propaganda  reels  to  the  exhibitor 
and  ask  him  to  show  them.  Local  man- 
agers of  the  large  utility  company 
branches  were  visitors  with  requests  of 
that  sort ;  the  automobile  salesmen,  the 
chairman  of  the  local  Red  Cross,  the 
precinct  police  captain,  the  fire  chief 
( and  what  theatre  manager  in  America 
would  refuse  the  fire  chief!),  all  these 
and  many  more  brought  non-theatrical 
subjects  which  they  felt  should  find  place 
on  the  local  screen  beside  the  regular 
entertainment  features.  The  exhibitor 
could  not  always  refuse,  even  if  he 
wished  to,  and,  when  he  consented  against 
his  better  judgment,  he  sometimes  made 
the  best  of  the  matter  by  projecting  the 
subject  with  the  first  show  in  the  morn- 
ing or  the  last  one  at  night.  Or  if  he 
was  hard  pressed,  he  sandwiched  it  into 
the  "supper  show,"  from  six  to  seven  P. 
M.,  when  business  was  light.  Thus  aud- 
iences in  neighborhood  houses  had  learned 
that  they  would  occasionally  find  adver- 
tising matter  on  the  screen,  and  had  be- 
come somewhat  accustomed  to  it. 

(To  b«  eoHtHtwd') 


Page    136 


The  Educational  Screen 


The  Film  and  International  Understanding 


Yale  Pioneers  in  Visual 
Educalion  for  Foreign  Areas 

C.    L.   V.    MEEKS 

Asst.  Professor  of  History  of  Art 
School  of  Fine  Arts,  Yale  University 

FILM  programs  on  a  large  scale  are  new  at  Yale, 
although  visual  material  has  been  important  here 
for  years  in  literary  and  historical  as  well  as  art 
studies.  Slides,  photographs,  and  clipping  files  have 
long  played  a  major  educational  role  in  these  fields, 
supplemented  by  the  original  material  in  the  Yale  mu- 
seums. Through  these  means,  the  student  establishes 
direct  visual  and  tactile  contact  with  cultures  remote 
in  time  or  place. 

With  this  tradition  so  deeply  rooted  in  Yale,  it  was 
natural  that  visual  education  should  be  an  important 
feature  of  the  Foreign  Area  Studies  Program.  It  was 
readily  agreed  that  language,  history,  and  literature 
would  not  be  a  complete  enough  curriculum  even  though 
there  was  so  little  time  available.  There  were  several 
reasons  why  visual  education  was  especially  important 
to  this  program.  These  students  had  to  have  an  under- 
standing of  the  area  they  were  studying  as  a  whole ; 
furthermore,  they  were  not  preparing  to  write  a  thesis 


Entrance  to  the  library  on  Yale  University  campus. 


Edited  by  DR.  JOHN  E.  DUGAN 

Haddon  Heights,  New  Jersey,  Schools 


EDITOR'S  NOTE:  Professor  Meeks'  article,  although 
it  describes  the  conception  and  implementation  of  the 
Visual  Interpretation  Courses  in  Yale  University's  recently 
established  program  in  Foreign  Area  Studies,  has  implica- 
tions which  are  much  more  far-reaching.  It  touches  upon 
problems  which  are  fundamental  to  the  consideration  of 
any  practical  program  for  the  use  of  the  film  in  the  field 
of  international  understanding,  either  in  the  war  situation 
or  in  postwar  planning.  The  article  approaches  these 
problems  without  preconceived  prejudices,  and  handles 
them  in  a  frankly  pragmatic  manner.  As  a  result,  a  number 
of  the  observations  and  conclusions  have  a  quality  of 
freshness  which  is  challenging  and  stimulating. 


in  a  library,  they  were  going  out  to  the  area  in  question 
in  a  few  months.  The  men  should  know  what  they  were 
going  to  find ;  they  should  be  made  as  familiar  as  pos- 
sible in  advance  with  what  they  would  see  as  soon  as 
they  walked  ofT  the  plane.  There  were  other  reasons 
too.  Ordinary  courses  only  make  use  of  some  of  the 
possibilities  of  human  perception.  If  vision  is  added  to 
these,  another  funnel  to  the  brain  is  opened  up.  The 
brain  may  then  be  working  at  60  per  cent  efficiency 
instead  of  40  per  cent.  This  is  vitally  important  in  an 
accelerated  program.  The  chances  are  multiplied, 
furthermore,  of  the  student  retaining  what  he  is  taught ; 
a  fact  presented  three  times  in  three  dififerent  ways — 
by  lecture,  in  print,  and  in  pictures — is  more  likely  to 
stick  than  if  it  is  presented  once. 

Once  the  visual  program  was  approved,  it  soon  ap- 
peared that  the  program  had  three  aspects :  ( 1 )  lectures 
illustrated  by  slides,  (2)  exhibitions  of  photographs, 
posters,  objects  and  (3)  moving  pictures.  The  first 
and  second  parts  presented  few  difficulties  ;  the  materials 
and  techniques  were  familiar.  The  film  program  was 
more  challenging ;  it  had  to  be  started  from  scratch.  N'o 
such  comprehensive  film  program  had  been  attempted 
at  Yale.  Both  pedagogical  and  mechanical  questions  had 
to  be  answered.  Some  of  the  pedagogical  questions 
were :  Should  the  film  be  given  by  itself  ?  Should  there 
be  a  commentary  before  or  after?  Should  we  stick  to 
documentary  films  alone  or  use  narrative  films  in  some 
proportion  ?  How  long  should  these  programs  be  and 
how  often  should  they  come  ?  Mechanical  problems  arose 
too:  How  woidd  we  locate  and  identify  the  best  films 
available?  What  could  be  done  about  the  propaganda 
element  of  most  films?  How  might  we  secure  a  pro- 
jector in  the  face  of  priorities?  How  get  screening 
accomplished  without  too  much  expense  and  delay? 
How  coordinate  the  visual  course  with  the  other  courses 
in  each  of  the  five  areas  ?  These  are  familiar  headaches 
to  every  school  official,  but  they  are  raised  to  a  higher 
power  of  complexity  through  the  added  factor  of  the 
intricate  booking  .schedules  at  the  film  exchanges. 

In  endeavoring  to  solve  these  problems,  we  tried  miost 
of  the  possible  variants  and  now,  at  the  end  of  the  first 
six   weeks,   have  a  working  plan.      We   schedule   one 


April,  194} 


Page    137 


k-cture  a  wet-k  for  each  area,  of  about  titty  minutes 
111  k'ligth,  l)ut  liekl  in  the  evening  so  that  a  rini-over  will 
not  be  awkward.  Of  these,  about  one  in  five  is  fictional 
or  narrative,  and  these  are  deliberately  allowed  to  run 
for  about  double  the  usual  time.  This  is  possible 
because  narrative  holds  the  attention  unobtrusively 
over  a  longer  period.  .About  a  third  of  each  period  is 
devoted  to  analysis  and  discussion.  With  the  longer 
narrative  film,  the  time  for  sucii  discussion  is  reduced. 
The  lecturer  begins  with  an  introduction  to  the  subject 
illustrated  by  the  film,  .stressing  things  to  be  observed. 
This  may  be  pointed  u])  with  slides.  The  film  is  shown, 
followed  by  discussion  which  is  ii.sually  stimulating  and 
])roves  the  value  of  the  method.  It  was  found  that 
students  do  not  know  how  to  interpret  a  film  without 
Mime  preliminary  hints  to  make  them  more  alert  and 
watchful.  .Showing  the  film,  di.scussing  it.  and  showing 
it  again  for  more  careful  analysis  is  time-consuming, 
and  very  often  the  quality  of  the  film  does  not  justify 
running  it  twice.  The  e.xhibition  of  photographs  ar- 
ranged in  an  adjoining  gallery,  presenting  the  same 
material,  in  diflferent  shots  and  with  a  different  cast, 
and  usually  more  objectively,  gets  better  results. 
Furthermore,  the  exhibition  is  there  for  further  study 
or  for  check  u])  in  the  week  or  so  afterward. 

One  lecture  of  this  kind  a  week  jK-r  area  has  seemed 
to  be  adequate  in  view  of  the  difficulties  of  scheduling. 

Selecting  films  probably  is  never  easy.  .Mthough  the 
available  guides  are  helpful.  pre-.screening  is  the  only 
safe  basis  for  selection.  The  films  on  the  market,  nu- 
merous as  they  are,  all  seem  to  attempt  to  cover  the 
whole  story  in  one  or  two  reels,  and  the  amount  of 
<luplication  is  inordinate.  The  titles  or  sound  track 
jjre.sent  real  difficulties  too.  .A  bia.sed  point  of  view  may 
not  appear  in  the  description  of  the  film  but  is  rarely 
absent  in  the  editing,  which  is  marred  further  by  being 
directed  toward  the  \oung  or  immature.  Ver%'  seldom 
is  one  found  that  is  directed  toward  a  highly  educated 
audience.  It  is  possible,  however,  to  select  a  small 
number  for  pre-screening,  and  it  has  been  found  that 
the  majority  of  the.se  are  useful.  In  general  the  Latin 
.\merican  films  from  the  Office  of  the  Coordinator  of 
.American  affairs  are  good  and  we  are  using  all  of  them. 
Xone  have  been  found  yet  which  are  directed  specifically 
to  the  use  to  which  we  wish  to  put  them  or  which  are 
edited  objectively  for  the  intellectual  level  normal  to  the 
other  area  courses  taught  by  such  men  as  \\ .  H.  Cham- 
berlain and  Hugh  Byas. 

The  re.s])ective  merits  of  .sound  and  silent  films  are 
not  yet  clearly  established.  The  silent  films  are  often 
l)€tter  since  they  make  greater  demands  of  the  student. 
He  is  not  distracted  by  canned  comments.  He  may 
<lraw  his  own  conclusions,  and  he  must  make  more 
effort  himself  to  under.stand  and  observe.  The  silent 
films  permit  comment  by  the  teacher  during  the  screen- 
ing. They  also  permit  the  lecturer  to  arrange  appro- 
priate recorded  music.  If  such  music  is  related  to  the 
area  shown  in  the  film,  still  another  funnel  to  the  brain 
is  opened  up.  This  fle.xil»ility  makes  some  silent  films 
superior  educationally  to  sound  films. 

The  accessibility  of  films  is  another  stumbling  block. 
.Although  this  is  global  war  and  one  of  its  consequences 
is  to  develop  further  international  coojieration,  never- 
theless much  footage  that  would  be  highly  useful  is  so 


r'tc^v     ..f     I'o.iriliiiMt 


I'l*     Iiitfr-AnK_'riL-au    AflFairs. 


The  National  Museum  of  Guatemala. 

restricted  as  to  be  virtually  unobtainable.  The  docu- 
mentary films  of  .some  of  our  allies,  even,  are  not  readily 
available. 

Unquestionably  the  reels  on  deposit  in  this  country 
contain  suitable  footage.  What  remains  to  be  done — 
and  it  may  have  to  be  done  cooperatively,  for  it  is  a 
colossal  job — is  a  comprehensive  assembling  and  edit- 
ing program.  Films  from  two  to  three  reels  in  length 
should  be  prepared  to  deal  with  the  following  aspects 
of  each  area :  physical  geography,  racial  types,  agricul- 
ture, industry,  political  system,  transportation,  educa- 
tion, religion,  art,  architecture,  recreation,  dailv  life, 
army  and  navy^  etc.  These  films  should  be  edited  as 
objectively  as  possible,  without  racial  or  religious  preju- 
dice, without  propaganda,  and  with  a  liberal  use  of 
visual  contrasts,  animated  maps  and  charts. 

We  are  delighted  with  the  results  achieved  so  far 
with  the  extension  of  visual  education  to  the  field  of 
Foreign  .Area  Studies  and  with  the  part  films  are  play- 
ing in  it.  .As  our  experience  is  enlarged,  we  may  have 
occasion  to  revise  some  of  the  conclusions  reached  in 
these  first  weeks.  We  are  convinced,  hovvver,  that  the 
men  who  have  undergone  this  intensive  three-phase 
visual  education,  because  of  it,  will  be  able  to  contribute 
more  effectively  to  world  understanding.  When  they 
arrive  on  the  scene  of  their  future  duties,  they  already 
will  be  familiar  with  it.  For  them,  the  first  shock  and 
bewilderment,  and  the  consequent  delay  while  they  are 
adjusting  to  something  wholly  une.xpected,  will  have 
been  reduced  if  not  eliminated.  That  others  confirm 
the  conclusions  reached  in  the  Yale  experiment  is  indi- 
cated by  the  fact  that  this  program  is  beifig  widely 
adopted  elsewhere. 


Page   138  The  Educational  Screen 

Summer  Courses  in  Visual  and  Audio- Visual  Instruction,  1943 


Th«   fellowinq   coursei   have  been    reported   to   dote.     Fiqurei   ill   poreiitheiit 
shew    semester   or   course   credits.     An    additional   list   will    appear   in    May. 


Arizona 

University   of  Arizona,   Tucson 
Visual  and  Auditory  Aids  in  Teaching  (2) 


July   MO 
E.  L.  LarsoH 


Colorado 

University  of  Colorado,  Boulder '  July  1-Aug.  25 

Visual  Aids  (3)  Lelia  Trolinger 

University  of  Denver,  Denver  June  21-July-23 

Audio-Visual  Aids  in  Classroom  Instruction    (2Viqr.) 

C.    E.    Armstrong 

Georgia 

University  of  Georgia,  Athens  June  7-July  14 

Visual  Aids  in  Education    (5  qr.)  H.   B.   Ritchie 

Illinois 

Northivestern  University.  Evanston  June  21 -July  13 

Visual  Aids  and  Radio  in  Education  (3  qr.)          Not  assigned 

Wheaton  College,  VVheaton  June  26-July  23 

Visual  .Aids   (2)  Robert  L.   Cooke 

Indiana 

Indiana  University,  Bloomington  May  4-.'^ug.  21 

Utilization   of   Audio-Visual   Aids    (2^ — Undergrad.) 

May  4- June  23 
Utilization  of  .'\udio- Visual  Aids   (2^4)  ;  Administration 
of  Visual-Aids   (2'/4)  June  24-Aug.  21 

All  courses  conducted  by  L.   C.   Larson 
Iowa 

Iowa  State  College,  Ames  July  14-.Aug.  21 

Visual  Education  (3  qr.)  A.  P.  Twogood 

Kansas 

State  Teachers  College,  Emporia  June  2-  July  30 

Visual  Education  (2)  S.  W.  Cram 

University  of  Kansas,  Lawrence  June   11-Aug.  6 

Visual  Education  in  Elementary  and  Secondary 
Schools  (2)  Fred  Montgomery 

Kentuclcy 

University  of  Kentucky.  Lexington 
Visual   Teaching   (4  qr.) 

Louisiana 

Louisiana  State  University,  Baton  Rouge 
Audio-Visual  Aids   (2) 

Maine 

University  of  Maine,  Orono 
Visual    Education    (2) 

Maryland 

State  Teachers  College,  Frostburg 
Teaching  the  Social  Studies    (correlates  with  N'isual 
Education  (3)  Ivan  C.  Diehl 

Massachusetts 

Boston  University,  Boston  July  6-.'\ug.  14 

Use  and  Management  of  Visual  Aids  in  Education   (2) 

John    G.    Read 

Michigan 

Central  Michigan  College  of  Education,  Mount  Pleasant 

Visual  Education  (2)  June  21-July  30  Verne  Stockman 

Western   Michigan   College   of   Education,  Kalamazoo 

Audio- Visual  Education  (2)  June  21-July  30      Ray  C.  Pellett 


July  22-Aug.  28 
Louis  Clifton 


July  19- Aug.  27 
Mary  Clint  Irion 


July  6-.>\ug.  13 
Paul   S.    Miller 


June  21-.Aug.  27 


Minnesota 

State  Teachers  College,  Moorhead 

Visual  Education  (4  qr.) 
State  Teachers  College,  Winona 

Audio- Visual  Aids   (4  qr.) 
University  of  Minnesota,  Minneapolis 

Visual   .\ids   (3  qr.) 


June  7-h\ig.  IS 

A.  M.  Christeiisen 

June  7-July  16 

Ella  C.  Clark 

June  16-July  23 

Paul  Wendt 


May  25-July  3 
I.  F.   Simmons 


July  6- Aug.  20 
Lycia   Martin 


Mississippi 

Mississippi  College,  Clinton 

.Audio-Visual   .Aids  in   Instruction   (3) 

New  Jersey 

State  Teachers  College.  Trenton 
Visual   Education   (2) 

New  York 

Chautauqua  Summer  .Schools,  Chautauqua  July  S-.Aug.  13 

Laboratory  Course  in  Visual  Aids  (2)  Mary  Molyneaux 

Columbia   University.   New   York  City  July  6-.Aug.  13 

.Audio-Visual  .Aids  to  Instruction  (2)  M.  R.  Brunstetter 

Laboratory   Course   in    .Audio-Visual   Instruction    (2) 

Etta  Schneider  Ress 
Irving  Hartley 
July  6-23 
Max  Bildersee 
June  28-.Aug.  6 
Not  assigned 
July  5-.Aug   14 


Production  of  Educational  Films  (2) 
Hofstra  College,  Hempstead 

Workshop   in  Audio-Education    (4) 
St.  Lazi'rence  University,  Canton 

Workshop  Group  in  Visual  Educ.   (4) 
State  College  for  Teachers,  .Albany 


.Audio-Visual  .Aids  to  Instruction  (2)  ;  Laboratory  in  .Audio- 


Visual  Education  (2) 
Syracuse  University,  Syracuse 
Visual    Education    (3) 


Floyd  Henrickson 
July  5-Aug.  14 
Margaret   Caimcross 


North  Carolina 

East  Carolina  Teachers  College,  Greenville  June  3-July  14 

Visual  Aids  in  Education  (3  qr.)  Annie  C.  Newell 

Western  Carolina  Teachers  College,  Cullowhee  June  1-July  10 
Audio- Visual  Education  (3  qr.)   (tentative)  C.  D.  Killian 

Ohio 

Miami  University,  Oxford  June  7-JuIy  16 

Audio-Visual  Instruction   (3)  J.  R.  Richardson 

Ohio  Uniz'crsity,  Athens  June  8-July  31  ;  Aug.  2-Sept.  25 

-Audio- Visual  Education   (2  each  term) 

Margaret    Hampel ;    Dorothy    Hoyle 
State  Unizrrsity,  Bowling  Green  June  7-July  10 

Audio- Visual  Aids  in  Education  (3)  Herschel  Litherland 

i'niversity  of  Cincinnati,  Cincinnati  June  19-July  27 

.Audio-Visual  Aids  in  the  Classroom  (2)  Victor  Coles 

Oregon 

Eastern  Oregon  College  of  Educ,  LaGrande  June  7-July  14 
Visual-.Audio  .Aids   (3  qr.)  Ralph  Badgley 

Pennsylvania 

Albright  College,  Reading  (2  terms)  June  l-.Aug.  20 

Visual  and  Other  Sensory  .Aids  in  Teaching 


(3  each  term) 
College  Miscricordia,  Dallas 

\'isual  .Aids  and  Sensory  Techniques  (2) 
Duquesnc  I  'niversity,  Pittsburgh 

Sensory  Aids  (2) 
Geneva  College,  Beaver  Falls 

Visual  Education  (3^ 
Grove  City  College,  Grove  City 

Visual-Sensory  Education  (3) 
Juniata  College.  Huntingdon 

Visual  Education  (3) 
Lebanon  Valley  College,  .Annville 

Visual  and  Sensory  Aids  (3) 
Lehigh  University,  Bethlehem 

Visual  Instruction  (3) 
Muhlenberg  College,  .Allentown 

Visual  Education  (3) 
Scton  Hill  College,  Greensburg 

Visual  Education   (2) 


V.  C.  Zener 

June  22-.Aug.  4 

Sr.  M.  Inimaculata 

June  2iS-.Aug.  6 

Michael  Ference 

June  14-JuIy  15 

John  S.  Mclsaac 

June  1-Sept.  18 

R.  G.  Walters 

July  19-.Aug.  21 

Paul  R.  Yoder 

June  7-.Aug.  15 

Clyde  S.  Stine 

Aug.  5-21 

W.  G.  Hayward 

June  26--Aug.  8 

John  E.  Trainer 

July  26-Aug.  13 

Sr.  Marie  Martha  Randall 


State  Teachers  College,  Bloomsburg  (3  sessions)  June  7-.Aug.  27 
Visual  Education  (1  each  session)  H.  H.  Russell 

State  Teachers  College,  California  June  28-Aug.  6 

Visual  Education  (1)  Newton  Kerstetter 


April,   1943 


Page  139 


State  Teachers  College,  Clarion 

Visual  Education  (1) 
State   Teachers   College,   East   Stroudsburg 

Visual  Education  ( 1 ) 
Slate  Teachers  College,  Edinboro 

Visual  Education  (1  or  2) 
State  Teachers  College,  Indiana 

Visual  Education  (2  each  term) 
State  Teachers  College,  Mansfield 

Visual  Education  (1) 
Slate  Teachers  College,  Shippensburg 

Visual  Education  (1) 
State  Teachers  College,  West  Chester 

Visual  Education  (1  or  2) 
Susquehanna  I  'nirersity,  Selinsgrove 

Visual  Education   (3) 
I'liiversity  of  Pennsylvania,  Philadelphia 

Visual  and  Sensory  Techniques  (2) 
I  niversity  of  Pittsburgh,  Pittsburgh 

Visual  Education  (2) 
I  'niversity  of  Scranton.  Scranton 

Visual  Education   (31 
ll'cstminster  College,  New  Wilmington 

Visual   Education   (3) 

Tennessee 

University  of  Tennessee,  Knoxville 
Audio- Visual  Aids  to  Education  (3  qr.) 


June  28-Aug.  9 

H.  S.  Manson 

June   7-Aug.   27 

F.  B.  McGarry 

June  27-July  28 

F.  S.  Heineman 

June  7-2S ;  June  28- Aug.  6 

Wilber  Emmert 

June  28-Aug.  6 

Isaac  Doughton 

June  28-Aug.  7 

Leslie  C.  Krebs 

June  28-Aug.  6 

Thomas  S.  Heim 

June  7-July  10 

George  E.  Fisher 

June  21-JuIy  31 

John  H.  Minnick 

June  28-Aug.  6 

Herbert  T.  Olander 

June  14-Aug.  31 

L.  Paul  Miller 

June  7-July  16 

Carroll  H.  Leeds 


June  7-July  14 
Oscar  E.  Sams 


Texas 

.Sam  Houston  Teachers  College,  Huntsville  May  25-July  24 

Administration  in  Audio-Visual  Aids   (3)  S.  E.  Smith 

Southivest  Texas  Teachers  College,  San  Marcos  July  15-Aug.  25 

Audio-Visual  Education  (3)  E.  O.  Wiley 

Sul  Ross  College,  AJpine  June  1-July  IS 

Audio-Visual  Education  (3)  J.  B.  Roberts 

Virginia 

Roanoke  College,  Salem  June  14-July  23 

Audio-Visual  Education  (2)  M.  S.  Masters 

State  Teachers  College,  Farmville 

June  14-July  17;  July  19-Aug.  21 
Audio-Visual  Education  (3  qr.  each  term)         E.  M.  Johnson 

Wisconsin 

State  Teachers  College,  River  Falls 

June  1-July 

Visual  .\i(ls  in  Education  (2  to  3  qr.) 
State  Teachers  College,  Stevens  Point 

Audio-Visual  Education  (3) 
Stout  Institute,  Menomonie 

Visual  Education  I  and  II  (2  each) 

Wyoming 

University  of  Wyoming,  Laramie 
The  Visualized  Curriculum  (3) 


9;  July  12-Aug.  14 

James  Malott 

June  7-Aug.  20 

Clarence  D.  Jayne 

■  June  21-JuIy  30 

Paul  C.  Nelson 


June  12- July  16 
W.  A.  Bonwell 


An  additional  list  of  courses  will  appear  in  May.  Readers  who 
knozu  of  visual  courses  to  he  given  this  summer  are  earnestly 
asked  to  send  us  names  of  the  institutions  offering  them,  with 
as  comtilete  data  as  possible. 


Jubilee  Conference  oi  New  York  Educators 

The  Silver  Jubilee  Conference  and  Luncheon  of 
the  New  York  Society  for  the  Experimental  Study 
of  Education,  held  in  New  York  City  Saturday, 
March  20th,  attracted  a  record  attendance  of  more 
than  a  thousand  educators  from  the  area,  according 
to  Mrs.  Esther  Berg,  chairman  of  the  Visual  In- 
struction Exhibits.  All  the  leading  firms  in  the 
visual  field  were  represented  with  exhibit  space,  and 
many  conducted  film  showings  of  timely  subjects. 


Department  of  Visual  Instruction  Notes 
Visual  Education  Meeting  in  Boston 

The  New  England  Section  (Zone  I)  of  the  Depart- 
ment of  Visual  Instruction  of  the  N.  E.  A.  held  its 
thirteenth  annual  Visual  Education  Conference  March 
27th  at  Boston  University  School  of  Education,  Boston, 
Mass.  The  program  consisted  of  the  following  ad- 
dresses and  demonstrations :  "How  the  Use  of  Educa- 
tional Films  Helps  to  Stimulate  Interest  in  the  Reading 
of  Library  Books" ;  "The  Story  of  the  Boston  Scien- 
tific Film  Society"  (An  experiment  in  Adult  Educa- 
tion) ;  "Illustrating  the  Teaching  of  English  Literature 
with  Color" ;  "Living  Wonders  in  the  Microsco])ic 
World ;"  "The  Use  of  Motion  Pictures  for  Victory." 

Showings  of  government  films  and  a  round-table  dis- 
cussion of  problems  and  questions  related  to  the  use 
of  motion  pictures  in  education,  concluded  the  well- 
attended  session. 

The  following  resolution  was  adopted  unanimously 
after  an  extended  discussion  on  the  values  to  be 
derived  from  the  O.  W.  I.  motion  picture  program : 

"Whereas,  the  Office  of  War  Information  has  launched 
a  program  of  production  and  distribution  of  films  dealing 
with  the  war  effort,  and  whereas  there  has  now  been  an 
opportunity  to  make  adequate  tests  of  the  usefulness  of 
Oiifice  of  War  Information  films  in  schools,  in  civilian  de- 
fense organizations,  in  industrial  plants  and  in  a  wide  var- 
iety of  community  groups, 

Be  it  resolved;  That  Zone  I  (encompassing  the  New 
England  States)  of  the  Department  of  Visual  Instruction 
of  the  National  Education  .Association  at  its  annual  meeting 
held  March  27.  1943,  at  Boston,  Massachusetts,  express 
its  appreciation  of  the  high  quality  of  films  already  released 
and  acknowledge  their  very  great  value  in  helping  to  meet 
the  needs  which  have  been  expressed  by  both  children  and 
adults, 

And  be  it  further  resolved  that  we  urge  the  continuation 
and  expansion  of  this  program  to  help  wartime  America 
to  understand  its  part  in  this  war. 

And  be  it  further  resolved  that  copies  of  this  resolution 
be  sent  to:  Congressmen  of  the  six  New  England  states, 
chief  of  the  Office  of  War  Information,  Zone  Presidents  of 
the  Department  of  Visual  Instruction,  Educational  Screen 
and  Business  Screen. 

Members  with  the  Armed  Forces 

Major  W.  Gayle  Starnes  has  been  named  chief  of  the 
Training  Division  of  the  Signal  Corps  Depot  at  Lexing- 
ton, Kentucky,  succeeding  Lieut.  Col.  Paul  D.  Meek. 
Major  Starnes  had  been  serving  as  executive  officer 
of  the  Training  Division  since  his  return  from  the 
Command  and  General  Staff  School  at  Fort  Leaven- 
worth, Kansas,  in  February.  He  began  work  at  the 
Signal  Depot  in  December  1941.  as  Civilian  Training 
Administrator. 

Gardner  Hart,  director  of  Visual  Instruction  in 
the  Oakland,  California,  Public  Schools  for  many 
years,  has  been  commissioned  lieutenant  senior  grade 
in  the  Navy  and  has  reported  to  Washington  for 
work  on  the  government's  film  program. 

Lt.  Don  White,  formerly  of  the  University 
System  of  Georgia,  has  been  assigned  to  the  Train- 
ing Aids  Directorate  of  the  AAF  School  of  Applied 
Tactics  at  Orlando,  Florida,  traininij  film  pro- 
duction headquarters  for  the  AAF.  Also  stationed 
there  are  Lt.  Godfrey  Elliott  and  Captain  H.  A. 
Gray. 


Page   140 


The  Educational  Screen 


SCHOOL  MADE  MOTION  PICTURES 


By    HARDY    R.    FINCH 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 

A.  Hobby  Makes  a  Classroom  Picture 

Student  interest  in  producing  motion  pictures 
may  be  combined  with  a  classroom  study  unit.  So 
writes  Earl  W.  Dible  in  his  account  of  A  Problem 
I'acinp  Today's  Youth,  the  100-foot  16mm.  film  pro- 
duced at  the  Menlo  School  and  Junior  College,  Menlo 
Park  California. 

The  story  of  the  ^lenlo  film  follows : 

IT  all  started  in  a  twelfth  grade  contemporary  prob- 
lems class  at  the  Menlo  School  which  at  the  time 
was  stud)ing  the  general  problem  of  "How  can  we 
better  use  our  leisure  time."  A  small  class  committee 
interested  in  amateur  movie  production  proposed 
as  a  project  the  production  of  a  short  motion  picture 
on  some  of  the  leisure  time  activities  of  the  school.  This 
proposal  was  made  on  the  basis  that  it  would  be  inter- 
esting to  tlie  class  to  learn  more  about  the  leisure 
time  interests  carried  on  in  their  own  school  and  that 
it  would  not  be  too  difiicult  to  get  material  or  pictures 
of  such  activities. 

With  the  assistance  of  the  instructor  the  com- 
mittee began  gathering  facts  on  the  pastime  activities 
in  which  students  participated  at  school. 

Next,  the  committee  listed  all  the  activities  which 
were  known  to  it  and  then  proceeded  to  question 
students,  visit  counselors,  look  through  office  activity 
records  and  consult  w  ith  the  physical  education  de- 
l)artment  of  the  school.  There  were  two  primary 
l)urposes  in  making  this  list :  first,  to  get  as  complete  as 
possible  a  list  of  all  activities  in  order  to  have  some- 
thing from  which  to  draw  up  a  shooting  script ;  and 
second,  to  secure  an  estimate  of  the  relative  importance 
of  these  activities  in  order  to  give  the  proper  film  foot- 
age and  emphasis  to  the  most  popular  ones. 

In  the  survey  the  committee  found  that  over  90%  of 
the  students  spent  their  leisure  time  with  some  sport. 
The  sport  which  played  the  biggest  part  was  swimming. 
.Swimming  accounted  for  more  than  50%  of  the  sport 
activity.  (The  fact  that  this  picture  was  made  in  the 
sjiring  and  the  pool  was  open  no  doubt  accounts  for 
this  rather  high  figure.)  Track  came  second  with  some 
28%",  while  tennis,  golf,  etc.  accoimted  for  less  than 
12%.  The  remaining  10%  of  leisure  time  was  taken  u\> 
with  special  hobbies  and  included  such  things  as  read- 
ing books,  drawing,  photography,  music,  archery  and 
model  building. 

With  the  analysis  completed,  the  committee  was  ready 
to  draw  up  its  shooting  script  of  proposed  scenes  and 
titles.  Upon  completing  the  .script  the  group  ap- 
pointed one  of  its  members  head  cameraman.  The 
member,  who  owned  a  16mm  camera,  secured  the 
appointment  as  this  was  his  regular  leisure  time  activity 
and  it  was  felt  by  the  committee  that  he  could  con- 
tribute the  most  in  this  field.  In  taking  the  .scenes 
the  script  was  followed  closely  in  order  to  cut  down  on 
later  splicing.     It  took  less  than  a  week  to  shoot  all  the 


IVitli  a  question  box  on  the  making  oj 
school  film  productions,  conducted  by 

DONALD    A.    ELDRIDGE, 
Wesleyan  University,  Middletown,  Conn. 


scenes  and  titles.  It  should  be  noted  that  the  titles 
were  made  on  the  grass  in  front  of  the  school  with 
the  help  of  large  white  library  letters.  Shooting  the 
titles  from  an  angle  above,  with  the  white  against  a 
green  background,  gave  a  very  pleasing  effect.  Tht- 
committee  livened  up  the  titles  by  keeping  them  short 
and  using  objects  to  depict  the  sport  or  hobby  in  the 
title.  For  example,  a  tennis  racket  and  ball  was  used 
in  the  tennis  title. 

When  the  film  was  returned  from  the  processing 
station  the  committee  previewed  its  work  with  a  most 
critical  eye.  The  group  felt  that  the  beginning  should 
be  more  interesting  and  that  introductory  titles  must  be 
held  to  a  minimum.  Several  of  the  members  attended 
the  local  theatre  to  analyze  a  sport  picture  which  was 
being  shown  along  with  a  March  of  Time  film.  .After 
attending  the  show  the  group  revised  the  introduction. 
Several  of  the  athletic  scenes  which  had  either 
been  too  long  or  too  short  were  cut  out  of  the  reel  and 
were  placed  in  quick  sequence  at  the  beginning  of  the 
picture.  This  was  then  followed  by  the  introductorv 
titles  and  the  story  of  Menlo  leisure  life. 

When  the  finished  production  was  presented  to  the 
class  it  was  most  enthusiastically  received.  Preceding 
the  picture  a  report  was  made  by  one  of  the  com- 
mitteemen which  outlined  the  investigative  work 
necessary  prior  to  the  making  of  this  picture.  The 
■4cameranian  then  explained  how  motion  picture  cameras 
were  operated  and  soinie  of  the  tricks  which  a  good 
amateur  cameraman  must  keep  in  mind  in  taking  a 
jjicture.  The  use  of  interesting  angles  was  particularly 
emphasized. 

Thus,  an  experiment  in  combining  student  interest  in 
amateur  motion  picture  production  and  a  class  unit  on 
leisure  time  was  successfully  con%pleted." 

QUESTION  BOX  ON  SCHOOL  FILM  PRODUCTION 

Question:  Can  you  give  us  some  advice  on  how 
to  splice  film?  We  have  been  having  some  trouble 
with  splices  coming  apart  during  projection,  and 
would  like  to  know  how  to  prevent  this. 

Answer:  In  splicing  film,  the  following  basic  principles 
should  be  observed: 

1 — Make  a  clean  scrape,  getting  off  all  of  the  emulsion. 
.'Vt  the  same  time,  care  should  be  used  to  avoid  breakiiiji 
the  film  around  the  sprocket  holes.  If  the  film  is  torn,  a 
new   splice  should  be  made. 

2 — If  you  moisten  the  film  before  scraping,  be  sure  to 
dry  it  thoroughly  with  a  clean,  hnt-less  cloth  before  apply- 
ing the  film  cement.  If  you  use  a  dry  scraper,  wipe  off 
the   scraped   surface   thoroughly. 

3 — Use  good  quality  cement.  There  is  a  difference  in 
various  brands,  and  if  the  kind  you  have  been  using  doesn't 
satisfy  you,  try  another  kind.  Sometimes  if  cement  fails 
to  "stick"  properly,  a  small  piece  of  film  (an  eighth  of  an 
inch  or  so  in  width)  dropped  into  the  fluid  will  improve 
its  adhesive  quality. 

(Concluded  on  page  142) 


♦  ■:♦ 


T    :>'■■ 


J 


VITAL 

in  Today's  War  — 
and  Tomorrow's  Victory 

Outstanding  in  training  millions  for  War  .  .  . 
Outstanding  in  training  more  millions  for  Peace 
.  .  .  Victor  Animatophones  provide  the  most 
modem  medium  for  faster  learning,  more  in- 
telligent understanding,  and  lasting  knowledge. 
These  amazing  16MM  Sound  Motion  Picture 
Projectors  —  working  both  regular  shifts  and 
"swing  shifts"— are  continually  doing  their 
dynamic  War  job  in  this  preferred  method  of 
teaching.  Their  precision  craftsmanship,  their 
exclusive  features,  their  world-wide  use— are  the 
reward  that  come  only  to  the  pioneer's  efforts 
in  this  rapidly  growing  industry.  Look  to  Victor 
for  your  future  training  and  teaching  methods. 


TRIBUTORS 
lOUT  THE  WORLD 


VICTOR  ANIMATOGRAPH  CORPORATION 


DAVENPORT,  IOWA 
188  W.  Randolph  Street,  Chicago 
242  W.  55th  Street,  New  York 


Page   142 


The  Educational  Screen 


16  MM  Sound  Films  on 

THE  UNITED  NATIONS  AT  WAR 


UN/rn  ST4TES 

Official  U.S.  War  Films  em- 
bracing: 

War    Production 
Food    Production 
Civilian    Activities 
Issues    of    the    War 

Tfcese  fHmi  ore  avoifoble  tor 
a  service  charge  o/  50e  /or 
f*e  «rif  sttbjecf,  and  25e  for 
each  additional  subieet  booked 
Oft  one  program. 


0(/«   ALUfS 

Films    on: 
Cen«da 
England 
Ru:sla 
Poland 
China 

Czechoslovakia 
South  America 


Mobilize  your  projector  for  Victory!  Show  these  films  in  the 
classroom,  the  auditorium,  In  community  forums — and  hasten 
the   day  of  Victory! 

Also  available,  such  outstanding  documentary  films  as  "The 
River,"  "The  City,"  "One-Tenth  of  our  Nation." 

For  turther  Information   write 

THE    COLLEGE    FILM    CENTER 

CHICAGO,   ILL. 


84  E.   RANDOLPH  STREET 


4 — Spread  the  cement  thinly  and  evenly  over  the  scraped 
area.  Too  much  will  produce  a  bumpy  splice,  and  in  cer- 
tain types  of  projectors  a  thick  splice  is  likely  to  pull 
apart,  or,  in  one  type,  it  may  trip  an  automatic  emergency 
trigger  which  will  stop  the  machine.  Be  sure,  though,  to 
use  sufficient  cement  to  cover  the  entire  scraped  surface. 
Avoid  the  tendency  to  miss  the  area  around  the  sprocket 
holes. 

5 — Clamp  the  two  sections  of  film  together  immediately 
after  applying  the  cement.  Almost  any  splicing  equipment 
does  this  satisfactorily.  It  is  important  that  the  surfaces 
of  the  equipment  be  kept  clean  so  that  the  film  rests  on 
a  truly  smooth  surface.  Particles  of  dirt  or  hardened  film 
cement  will  form  an  uneven  surface  and  consequently  infer- 
ior splices. 

6 — Allow  the  cement  to  dry  for  at  least  fifteen  seconds, 
then   release   the   clamp. 

7 — Wipe  off  any  excess  cement  (there  should  be  none  if 
the  right  amount  has  been  used)  with  a  clean,  soft  lint- 
less  cloth. 

8 — Instead  of  pulling  the  film  off  from  the  si)Iicer,  it  is 
helpful  to  slide  a  pencil  or  some  thinner  object  under  the 
film,  thereby  raising  it  gently  instead  of  abruptly  from  the 
splicer. 

If  these  simple  precepts  are  followed,  you  should  have 
no  difficulty  with  your  splices.  Before  projection,  you  can, 
and  should  check  splices  quickly  by  rewinding  the  film 
through  a  soft  cotton  glove.  Any  loose  splices  will  catch 
in  the  glove,  and  can  then  be  repaired.  Never  try  to  re- 
cement  the  same  surfaces.  The  film  should  be  re-cut,  and 
an   entirely  new  splice   made. 

Question:  How  important  i.s  it  to  use  a  haze  filter 
with  outdoor  Kodachrome?    What  is  its  function? 

Answer:  A  haze  filter  is  definitely  essential  for  good 
results  with  regular  Kodachrome  used  for  photographing 
mountain  scenery,  or  for  work  at  high  altitudes,  or  under 
almost  any  conditions  where  a  telephoto  lens  is  used  to 
photograph  distant  objects.  It  is  of  primary  importance 
in  the  mountains  because,  even  on  the  clearest  day,  there 
is  a  haze  which,  although  perhaps  not  noticeable  to  the 
human  eye  will  give  a  blue  tinge  to  Kodachrome  exposures. 
A.   telephoto  lens   will   further  exaggerate   this   effect. 

This  sort  of  haze  is  eliminated  or  filtered  out  by  the 
haze  filter.  However,  it  will  not  "cut  through"  a  heavy 
mist,  nor  will  it  make  a  clear  bright  scene  of  a  naturally 
dull  one.  If  in  doubt,  use  the  filter.  Actually,  there  i,-; 
nothing  to  lose  by  always  using  a  haze  filter  with  outdoor 
Kodachrome,  for  it  requires  no  exposure  correction,  and 
it  does  insure  the  best  obtainable  color  quality  under  any 
conditions. 


Experimental  Research 

in  Audio- Visual  Education 

By  DAVID  GOODMAN,  PhJ). 

Title:  A  SURVEY   OF  VISUAL   AIDS  IN   THE   CIN- 
CINNATI SCHOOL  SYSTEM 

For  the  degree  of  Master  of  .-Krts,  completed  1941— University 
of  Cincinnati 
Purpose 

The  purpose  of  this  survey  was  to  determine: 

1)  The  grades  in  which  visual  aids  were  most  frequently  used 
in  the  Cincinnati  grade   schools. 

2)  The    subjects    in    which    visual    aids    were  most    frequently 
used   in   the   Cincinnati   high   schools. 

3)  The  proportion  of  the  educational  staff  that  makes  u.se  of  the 
visual  aids  offered  by  the  exchange. 

4)  The   reaction  of  the  teachers  using  the   visual   aids  to   the 
value  of  the  content  of  those  aids. 

5)  The  trends  in  the  use  of  vi.sual  aids  in  the  Cincinnati  public 
schools. 

Procedure 

This  study  was  a  normative  survey  of  the  basic  data,  con- 
cerning the  use  of  visual  aids  during  the  first  five  months 
of  the  school  year,  1939-40,  that  were  available  through  the 
office  of  the  Cincinnati  Visual  .-Mds  Exchange.  This  included 
only  tho.se  aids  that  require  mechanical  apparatus  for  pro- 
jection, namely,  sound  film,  silent  film,  lantern  slides,  and 
film   strips. 

A  selection  of  ten  other  studies  of  a  similar  nature,  the  de- 
velopment of  the  Visual  Aids  Exchange,  and  a  brief  account  of 
the  types  of  aids  considered  were  included  as  a  background  for 
this  survey. 

Result 

As  a  result  of  this  survey,  another  form  of  projection  re- 
port slip  was  devised  which  may  be  of  value  in  the  future 
to  ones  interested  in  this  phase  of  visual  education. 

The  following  suggestions  were  made  for  further  investi- 
gation  in    the    field   of   visual   education. 

1)  A  survey  of  the  use  of  the  visual  aids,  other  than  the  ones 
included     in  this  study,  in  the  Cincinnati  school  system. 

2)  An  investigation  into  the  problem  of  selection  of  new  aids, 
and  the  duplication  of  the  most  frequently  used,  for  the 
Cincinnati  Visual  Aids  Exchange. 

3)  The  preparation  of  a  printed  manual  on  the  use  of  visual 
aids  in  the  classroom. 

4)  A  survey  of  practices  in  the  use  of  visual  aids  in  several 
of  the  larger  school  systems,  and  comparison  of  the  results 
with  the  use  of  visual  aids  in  the  Cincinnati  school  system. 

5)  A  summary  of  the  literature  in  the  field  of  visual  edu- 
cation from  1937  to  1940. 

6)  A  repetition  of  this  survey  a  year  hence  to  determine  the 
change  of  practices,  if  any. 

7)  Experiments  with  the  use  of  visual  aids  in  the  various 
subject  matter  fields,  to  determine  methods  that  are  best 
fitted  for  the  use  of  visual  aids  in  specific  subjects. 

Conclusions 

This  survey  points  out  where  visual  aids  were  most  frequently 
used  in  the  Cincinnati  school  system.  It  is  an  inventory  for  the 
local  exchange  to  show  where  the  most  progress  has  been 
made  since  its  establishment.  A  comparison  of  the  results 
of  this  survey  with  one  of  a  similar  nature  in  another  school 
system  might  yield  some  pertinent  information  for  both  school 
systems.    The  conclusions  were  as  follows : — 

1)  Silent  films  were  used  more  extensively  than  were  sound 
films  and  lantern  slides  combined  in  both  the  grade  schools 
and  the   high   schools. 

2)  Lantern  slides  and  film  strips  were  used  more  extensively 
in  the  intermediate  grades  than  on  other  levels. 

3)  Industrial  Arts  and  Commercial  classes  used  more  visual 
aids  than  did  the  other  classes  of  the  high  schools. 

(Concluded  on  page  151) 


April,  194} 


Page   143 


•  A  Vital  New  Use  for  RCA  Audio-Visual  Aids!  • 


The  Men  who  marched  a  Million  Miles! 


They  went  out  on  reconnaissance  patrol  at  night. 
Stealthily  they  moved  forward  through  the  dark  and 
secretive  jungle. 

Whenever  danger  threatened,  they  handled  it  ef- 
fectively. Wherever  the  enemy  showed  his  head,  they 
took  care  of  him  promptly.  They  made  no  mistakes. 

And  they  repeated  that  march  —  not  once  —  but 
thousands  and  thousands  of  times  ...  on  the  screen. 

For  these  men  were  soldiers  performing  for  the 
Signal  Corps  Army  Pictorial  Service,  and  the  film 
they  made  was  used  in  training  centers  all  over  the 
country.  Soldiers  studied  that  film  carefully,  noting 
every  move,  watching  every  maneuvre,  learning 
every  lesson  that  could  possibly  be  learned  from  ob- 
serving a  perfect  job  of  reconnaissance  patrol. 

Thus,  through  the  use  of  this  audio-visual 
method,  the  training  of  hundreds  of  thousands 
of  men  was  speeded  up  and  made  more  effec- 


tive. Today,  films  are  an  essential  part  of  America's 
military  training  program.  As  the  Basic  Field  Man- 
ual puts  it:  "They  teach  through  the  eye  and  ear 
combined  and  by  thus  utilizing  two  of  the  physical 
senses  compel  interest  and  impress  a  lasting  picture 
of  the  lesson  or  lessons  presented." 

RCA  is  proud  that  its  projectors,  its  film  record- 
ing and  reproducing  facilities  play  an  important  part 
in  this  vital  training  program.  They  help  make 
Americans  better  soldiers  —  in  a  shorter  time! 

That  means  RCA  16  mm.  sound  projectors  are 
today  available  only  for  war  purposes.  And  that 
means  you  should  keep  the  equipment 
you  now  have  in  good  running  order. 
Make  it  last  until  Victory  is  won, 
and  you  can  again  secure  these 
superior  projectors  for  your  edu- 
cational work! 


RCA  Victor  Division  •  Educational  Dept. 

RADIO  CORPORATIOK  OF  AMERICA,  Camden,  N.  J. 


Page    144 


The  Educational  Screen 


PARADE  OF  MUSICAL  HITS 

16mm.  Sound  Films — 100  Ft.  Lengths 

Featuring    ou+standinq    orchestras    and    headline    perfornn- 
ers.      18    titles,    including: 

I    AM    AN   AMERICAN    sung    by   Carolyn    Marsh. 
COMIN'   THRU   THE   RYE— Charlie   Spivak   Orch. 
THE  CHOOL  SONG:     With  the   King's  men. 
FIDDI  E   POLKA:     with    Lanny   Ross. 
EL    RANCHO    GRANDE:      starring    Barry   Wood. 
SONG  OF  THE   ISLAND:      Ray   Kinney  Orchestra. 

SALE   PRICE:    S7.50   per  subieet 
RENTAL:     3  lubjects  on  one  reel  $2.00 

Xotf:     For     non-theatiical    use    only. 

Just  off  the  press!    Catalog  listing  about  3000 
entertainment   and  educational  subjects 

WALTER  O.  GUTLOHN,  Inc. 

25  W.  45th  St.  Dept.  E-4  New  York 


^Vs(M±    and 


71/^0/  HAL  ROACH 

Feature    Releases 

ON      16MM      SOUND      FILM 


ONE  MILLION  B.  C. 

featuring  VICTOR  MATURE,  CAROLE  LANDIS,  LON 
CHANEY,  JR.  An  amazing  cavalcade  of  life  in  the 
Stone   Age. 

TURNABOUT 

featuring  ADOLPHE  MENJOU,  CAROLE  LANDIS, 
JOHN    HUBBARD.   A  delightful   farce   comedy. 

Order    from    your    Film    Library    today 
Write  for  Free  Catalogue  listing  other  Sound  Films, 

POST    PICTURES    CORP. 


723  Sev«n"h  Ave. 


Dept.  10 


NEW  YORK,  N.  Y. 


SPECIALIZED  RENTAL  SERVICE 

OUTSTANDING  FEATURE  PROGRAMS  .  .  .  "Our 
Town",  "Abraham  Lincoln",  Harold  Bell  Wright's  "Mine 
With  Iron  Door"  and  "Calling  of  Dan  Matthews", 
Peter  B.  Kyne's  "The  Stoker",  Thackeray's  "Tanan's 
Revenge",  Clarence  Budington  Kelland's  "The  Cat's 
Paw",   and    many   others. 

Also   Select   Short   Subjects   For   Educational 
and  Recreational  Programs 


SEND    FOR    DESCRIPTIVE    CATALOG. 

NU-ART  FILMS,  INC. 

145    West    45th    Street,    New    York 


NAVED  Reports  on  Current  Developments 

The  National  Association  of  Visual  Education  Dealers 
iiad  planned  to  hold  its  annual  meeting  in  St.  Louis  in 
coiniection  with  the  convention  of  the  American  .Asso- 
ciation of  School  Administrators  but  upon  the  cancella- 
tion of  that  convention  by  the  Office  of  Defense  Trans- 
]5ortation.  called  a  meeting  of  its  Board  of  Directors 
in  Washington  February  14  and  15.  A  meaty  20-page 
bulletin,  issued  to  the  members  of  the  .Association  by 
Mr.  D.  T.  Davis,  Secretary-Treasurer,  reports  on  the 
business  tran.sacted  at  that  meeting,  and  the  activities 
of  the  W'ashington  committee  in  bringing  to  the  atten- 
tion of  different  government  agencies  problems  of  the 
visual  education  industry,  and  ways  and  means  for 
further  cooperation  in  the  war  effort.  The  NAVED 
has  become  an  influential  factor  in  the  visual  field  and 
has  made  a  valuable  contribution  to  the  Home  Front 
offensive  in  its  service  to  the  Government  and  users  of 
visual  aids.  The  .Association  has  a  membership  of  115 
selected  distributors  from  39  states. 

Mr.  Floyde  Brooker.  U.  S.  Department  of  Education, 
has  solicited  information  from  many  sources  concerning 
the  projector  needs  of  all  schools  for  the  next  year  or 
two.  His  department  has  com])iled  this  information  and 
it  is  now  in  the  hands  of  VV.P.B.  With  this  information 
they  have  made  an  appeal  to  W.P.B.  for  an  allocation 
of  materials  for  the  manufacture  of  1900  16mm  sound 
projectors,  and  1600  slidefilm  projectors.  The  X.WED 
is  urgently  endorsing  this  appeal,  as  shown  by  the 
exchange  of  correspondence  reproduced  in  the  bulletin. 

One  of  the  problems  with  which  this  Association  is 
vitally  concerned  is  the  maintenance  of  16nim  projectors 
so  that  every  machine  in  the  country  can  be  kept  in 
efficient  operation  for  the  maximum  utilization  of  films 
for  war  training  and  war  information.  It  is  consequently 
urging  the  granting  of  priorities  not  only  on  motion 
picture  projectors  hut  on  ]3rojector  parts  as  well. 

.A  report  has  been  furnished  the  Photographic 
Division  of  \\'.P.B.  by  Association  member  Richard  F. 
O'Xeil  of  Visual  Education  Service.  Boston,  submitting 
an  estimate  on  the  number  and  type  of  amplifier  tubes 
that  would  be  required  to  keep  16mm  sound  projectors 
operating  in  the  war  training  program.  Advice  from 
government  head(|uarters  has  been  to  the  effect  that 
no  difficulty  will  be  experienced  in  having  the  glass 
tubes  in  production,  but  the  metal  tubes  will  probably 
be  taken  by  the  Armed  Forces. 

The  matter  of  jirojection  lamps  has  also  been  taken 
up  to  ascertain  their  availability.  No  priority  is  required 
but  due  to  the  limitations  on  lamp  manufacturers  as 
to  the  types  of  lamps  they  may  produce,  a  shortage 
exists. 

The  N.A\'ED  announces  that  it  will  make  an  annual 
award  to  the  individual  in  the  United  States  making 
the  greatest  contribution  to  the  cause  of  Visual  Edu- 
cation for  the  year.  This  award  will  be  made  next  year 
at  the  animal  meeting  of  the  A.  A.  S.  A.  An  outstand- 
ing committee  of  national  educational  leaders  will  be 
appointed  to  '.'etermine  the  winner. 

Following  are  the  new  officers  of  the  N.AVED :  Mr. 


April,   194} 


Page   145 


A^otsi 


1.    M.    Stackhouse,   32   West    Lock    Lane,    Richmond, 
\irginia,   succeeds  C.   R.   Reagan  as   President.     Mr. 
Reagan  offered  his  resignation  in  view  of  his  full  time 
activities  as  Field  .Kdvisor  of  the  Educational  Motion 
Picture  Division  of  O.  W.  L    Mr.  Harry  L.  Barr,  441 
Ash    St.,    Morgantown.    West   Virginia    succeeds    Mr. 
!     Olson  Anderson  as  Vice-President.     Mr.  .Anderson  is 
[     now  serving  with  the  Navy.     D.  T.  Davis,  231  West 
'     Short  St.,  Lexington.  Ky.,  was  reappointed  Secretary- 
Treasurer.     The  names  of  the   new   memhers  of  the 
hoard   of   directors  are   as   follows:    Milton    Hill.   922 
Shipley  St.,  Wilmington,  Del. ;  Bernard  Cousino,  1221 
[     Zkladison  Ave.,  Toledo.  Ohio;  Earl  P.  Carpenter,  7315 
[     Carnegie  Ave..  Cleveland.  Ohio;  H.  E.  Reiss,  10  Hill 
St..  Newark,   N.J.     The   following  were  reappointed: 
Richard  F.  O'Neil.  131  Clarendon  St..  Boston,  Mass.; 
Louis  H.  Hill,  927  W.  Burnside.  Portland,  Oregon. 

The  Board  of  Directors  has  appointed  the  following 
memhers  to  act  as  NAVED's  permanent  Wasingtou 
committee:  J.  M.  Stackhouse,  Richard  F.  O'Neil,  Harry 
1.  Barr,  Paul  Brand,  and  D.  T.  Davis. 

Notable  British  Film  on  Airican  Campaign  Released 

Desert  Victory,  the  British  film  record  of  the 
Eighth  .Army's  smashing  victory  at  El  Alamein  and 
triumphant  advance  across  the  desert  (first  noted  in 
the  Educational  Screen  for  January,  1943) 
is  to  be  released  as  a  feature  length  picture  through- 
out the  United  States  and  Canada  by  20th  Century 
Fox.  '  ^    i 

An  actuality  film  made  under  fire  and  capturing 
the  full  impact  of  modern  warfare,  it  is  described 
iis  the  war's  best  film  by  American  soldiers  in 
London,  and  American  critics  who  have  previewed 
it  in  New  York  and  Chicago. 

The  scenes  dealing  with  the  fighting  at  EI  Alamein 
are  considered  the  most  dramatic  account  of  a  battle 
ever  screened.  The  film  opens  at  the  grim  moment 
when  Rommel's  .\frika  Kor])s  had  driven  to  within 
60  miles  of  .Alexandria,  and  shows  Prime  Minister 
Churchill  visiting  the  troops,  bringing  two  new  gen- 
[      crals — Alexander  and  Montgomery. 

Produced  by  26  battle  photographers  and  six  offi- 
cers of  the  British  Army  Film  and  Photographic 
Unit  with  the  cooperation  of  a  Royal  Air  Force 
Film  Production  Unit,  Desert  Victory  has  for 
its  "actors"  the  men  of  the  Eighth  Army,  the  Royal 
Xavy  and  the  R.-A.F.  Its  principal  sets  are  the  desert 
battlefields,  from  60  miles  west  of  Alexandria, 
through  1,300  miles  of  chase  and  fighting,  to  the 
streets  of  Tripoli.  Its  cameramen — former  film  ex- 
perts, photographers  and  technicians,  and  all  re- 
taught  for  their  perilous  job — were  fully-trained 
soldiers,  carrying  arms  as  w^ell  as  picture-taking 
equipment. 

Commanded  by  Lt.  Col.  David  Macdonald,  a 
peacetime  film  director  in  Hollywood  and  England, 
the  .Army  photographic  unit  advanced  with,  and 
sometimes  ahead  of,  the  troops.  There  were  casual- 
ties. During  the   shooting  of  the  picture,  the   film 


Introduction  to 
»XYACETYLENE 
WELDING 


nwHum 

— nOlUlllUTTDi 


^t^tttM^St^^^'' 


■^cm-. 


Introduction  to 

Oxyacetylene 

Welding 

THE  PICTURE:  A  series  of 
pictures  designed  to 
show  the  importance  of  a 
welder's  job  begins  this 
picture.  Then  the  film  in- 
troduces the  welder's 
tools  and  equipment.  The 
correct  method  to  get  a 
flame  is  shown  and  ex- 
plained, as  are  the  three 
types  of  flames  which  can 
be  obtained.  A  bead  is 
welded,  illustrating  the 
way  the  welding  rod 
should  be  handled.  The 
picture  closes  with  in- 
structions on  how  to 
finish  the  job  and  put 
away  the  welding  equip- 
ment. 

SCOPE:  High  school  shop 
students  and  college  and 
adult  classes. 

USE: 

1.  HIGH  SCHOOL  shop 
instruction. 

2.  VOCATIONAL 
GUIDANCE  illus- 
trating this  expert  job. 

3.  EMPLOYEE 
CLASSES  for  welding 
apprentices. 

4.  ADULT  CLASSES  in 
supplementary 
schools. 

*PRICn:  $66,  f.o.b.  De- 
troit. 

LENGTH:  Two  reels, 
sound,  16  mm,  safety 
stock. 

'Price  sukftct  to  changt 
without  notice 

Writ»  for  tomplat*  catalog  or 

too  ait  Avfhorixod  Visual  Aids 

Doalor 


The  JAM  HANDY  Organization 

NEW  YORK     .     DETROIT     •     LOS  ANGELES 
CHICAGO       .       DAYTON       •      WASHINGTON 


Page    146 


The  Educational  Screen 


Epic  Documentary  Feature 

Story  of  How  3,000,000 
Citizens  of  Leningra<l 

StnaUijed  ike  ^ofi  9ta*t  Rlnf! 

Narrated  By 

EDWARD  R.  MURROW 

Chief  of  the  C.B.S.  European  Staff 

NOW  ON  16mm  SOUND  FILM! 

A        ^pply    for    Dates    &    Terms         ^ 
ALSO  FREE  COPY  "WARTIME  FILM  BULLETIN" 


BRnnoon  filhis 


1600  BROADWAY 
NEW  YORK  CITY 


unit  lost  more  than  a  dozen  of  its  ninnlier.  Four 
were  killed,  seven  were  wounded  and  others  were 
captured  by  the  German  Afrika  Korps. 

Lt.  Col.  Macdonald,  who  has  just  arrived  in  the 
United  States  by  plane  to  present  a  first  print  of 
the  picture  to  President  Roosevelt,  returned  to 
England  from  Africa  with  nearly  200.000  feet  of 
film.  He  and  J.  L.  Hodson.  author  and  war  corres- 
pondent, then  Avrote  a  script,  afterwards  carefully 
cutting  the  footage  to  feature  length. 

School  Use  of  Inter-American  Film:* 

The  success  of  the  Inter-American  film  program  in 
the  Texas  schools  has  led  to  its  adoption  in  various 
other  areas — in  Iowa,  Xew  York  City.  St.  Louis,  New- 
ark and  Jersey  City — and  plans  are  under  way  to  extend 
the  program  to  other  school  systems.  It  is  believed 
that  eventually  at  least  half  a  million  school  children 
will  see  films  on  Latin  .\merica  each  month  through 
this  program. 

The  New  York  City  .schools  report  ihat  during  the 
month  of  January  attendance  at  film  showings  totaled 
37,160.  A  booking  plan  has  been  worked  out  whereby 
1 1  prints  of  a  single  subject  are  provided  to  the  schools 
each  week  and  are  routed  by  the  institutions  themselves 
through  the  57  high  schools  which  have  projection 
equipment.  Four  weeks  are  required  to  play  out  a 
picture.  The  St.  Louis,  Iowa,  Newark  and  Jersey  City 
school  .systems  follow  a  similar  procedure,  the  time 
required  for  a  picture  to  play  the  circuit  varying  with 
the  number  of  schools  and  the  number  of  pupils. 


School-Made  Eodachrome  Slide  Units 

(Concluded  from  page  127) 

The  equipment  is  completed  by  the  addition  of  two 
or  more  photoflood  lights  on  tripod  stands,  to  be  used 
in  photographing  children  and  other  three-dimensional 
subjects.  Color  photography  with  Kodachrome  is  no 
more  difficult  than  black-and-white,  if  two  simple  pre- 
cautions are  observed.  The  first  is  that  only  "Type  A" 
Kodachrome  be  used  for  work  with  artificial  light,  and 
the  second,  that  the  exposure  times  recommended  by 
the  manufacturer  be  strictly  followed.  The  latter  is 
essential,  as  this  film  does  not  have  the  latitude  pos- 
sessed by  monochrome  films. 

For  convenience  and  economy  of  time,  the  writer 
shot  all  three-dimensional  pictures  in  succession,  and 
made  a  second  group  of  the  "easel"  subjects,  such  as 
paintings  and  sub-titles.  This  avoided  constant  shift- 
ing of  the  camera  from  tripod  to  easel,  with  attendant 
changes  of  lens,  etc. 

Sub-titles  were  done  on  monochrome  film,  partly  for 
economy  and  partly  because  they  were  merely  type- 
written in  any  case.  If  the  original  negative  is  used 
instead  of  printing  a  positive,  the  titles  will  project  as 
white  letters  on  a  black  field,  which  is  of  course  desir- 
able. The  best  way  to  typewrite  the  titles  is  to  set  the 
machine  as  for  cutting  stencils,  or  to  remove  the  ribbon, 
and  use  fre.sh  carbon  paper  instead.  If  the  type  is 
clean,  this  produces  sharp  letters  of  good  blackness. 
free  from  the  fuzziness  and  cloth  te.xture  introduced 
by  a  ribbon.  After  development,  titles  are  cut  from 
the  strip  and  mounted  in  cardboard  "ready-mounts"  to 
match  those  in  which  Kodachromes  are  returned  after 
processing.  With  reasonable  care  in  handling,  glass 
plates  are  not  needed,  but  these  may  of  course  be  used 
for  both  Kodachromes  and  titles  if  necessary. 

As  the  writer's  first  attempts  were  in  the  production 
of  monochrome  film  strips,  a  comparison  with  Koda- 
chrome slides  may  be  in  order  at  this  point.  The  ad- 
vantages of  natural  color  are  of  course  obvious,  but 
other  differences  were  learned  only  after  experience. 
For  example,  in  the  case  of  slides  one  may  take  the 
pictures  and  sub-titles  in  any  order,  but  because  a  film 
strip  is  continuous  it  is  necessary  to  photograph  each 
sub-title  in  its  proper  sequence,  which  necessitates  end- 
less switching  of  camera,  lenses,  lights,  etc.  while  pupils 
wait  between  shots.  Titles  on  film-strip  positives  can 
not  be  projected  as  white  letters  unless  the  original  is 
lettered  in  white,  which  eliminates  the  convenience  of 
the  typewriter.  Film-strip  framing  must  be  uniformly 
vertical  or  horizontal,  unless  one  undergoes  the  nuisance 
of  rotating  the  projector  head,  whereas  slides  may  be 
arranged  as  required.  Finally,  if  one  or  two  shots 
result  poorly,  the  entire  strip  is  six)iled  to  a  degree, 
whereas  slides  may  be  replaced  individually. 

Limitations  of  space  have  necessarily  restricted  this 
article  to  the  minimum  essentials  of  the  project,  but  the 
writer  cannot  close  without  commenting  on  the  un- 
paralleled motivating  force  that  it  has  had  on  the  work 
of  his  school.  There  is  something  about  seeing  oneself 
and  one's  work  projected  before  an  audience  that  stimu- 
lates the  "certain  something"  that  is  hidden  in  teachers 
and  children  alike,  and  nourishes  the  fruitful  seed  of 
personality. 


April,    194} 


Page   147 


Hundreds  of  MAJOR  Features 

Now  Available 

WITHOUT  LOCATION  APPROVAL! 

Just  a  few  examples  of  the  fine  subjects  offered: 


DR.  CHRISTIAN  features,  starring  the  beloved  actor  Jean  Hersholt.  Titles 
are:  Courageous  Dr.  Christian,  Meet  Dr.  Christian,  Dr.  Christian  meets  the 
Women,   Melody   for    Three,   Remedy   lor   Riches   and    They   Meet   Again. 

ABRAHAM  LINCOLN^IO  reels— starring  Walter  Huston.  A  notable  and 
the  inspiring  film  on  the  life  of  the  Great  Emancipator. 

ALGIERS — 10  reels — starring  Charles  Boyer,  in  a  colorful  drama  of  suspense 
and  romance,  against  the  teeming  background  of  the  Casbah  in  Algiers. 

BACK  DOOR  TO  HEAVEN~8  reels— Wallace  Ford,  Patricia  Ellis  and  Stuart 
Erwin — story  of  a  boy  born  on  the  wrong  side  of  tracks  who  climbs  over 
obstacles  to  success,  respect  and  love. 

BLOCKADE — 9  reels — starring  Madeleine  Carroll,  in  the  famous  drama  of 
espionage  and  the  running  of  the  blockade  during  the  recent  Spanish  civil  war. 

CAPTAIN  CAUTION — 9  reels — starring  Victor  Mature,  based  on  story  by 
Kenneth  Roberls.     A  swashbuckling,  romantic — adventure  tale. 

CATHERINE  THE  GREAT— 10  reels— starring  Elizabeth  Bergner  and  Douglas 
Fairbanks,  Jr.    A  notable  production  on  the  life  of  the  great  Russian  ruler. 

COUNT  OF  HONTE  CRISTO— 12  reels— Robert  Donat  and  Elissa  Land!  starred 
in  the  famous  and  highly  entertaining  film  version  of  Dumas'  great  classic. 

DANIEL  BOONE — 8  reels — starring  George  O'Brien  in  an  epic  tale  about  the 
great  pioneer  and  his  times. 

ELEPHANT  BOY — 9  reels — starring  Sabu.  Based  on  Rudyard  Kipling's  fine 
story  of  the  jungle,  "Tamai  of  the  Elephants". 

GAY  DESPERADO,  THE — 10  reels — starring  Nino  Martini,  the  golden-voiced 
Metropolitan  Opera  tenor,  who  sings  his  way  out  of  many  difficulties  in  a 
musical  romance  laid  in  Mexico. 

HER  UNCLE  SAM — 9  reels — starring  Robert  Taylor  and  Barbara  Stanwyck. 
Entertaining  romance  about  the  difficulties  of  a  pair  to  get  back  into  the 
U.  S.  when  they  find  themselves  across  the  border  in  Mexico. 

MAKE  A  WISH — 8  reels — Bobby  Breen  and  Basil  Rathbone  in  a  very  appealing 
story  about  a  composer  whose  talents  have  temporarily  staled. 

ONE  MILLION  B.C. — 9  reels — Victor  Mature  and  Carole  Landis  in  a  super- 
thriller  involving  pre-historic  animals. 

OUR  TOWN — 8  reels — starring  Martha  Scott,  with  fine  cast  in  the  famous  film 
version  of  the  Thornton  Wilder  prize  play  of  small-town  life. 

REMBRANDT — 9  reels — starring  Charles  Laughton,  in  a  masterful  portrayal  of 
the  life  of  the  great  Dutch  painter. 

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Page   148 


The  Educational  Screen 


^riE  J^itE^xatuiz  in  ^  l/iiuaL  iJn±ixuation 


A    Monthly    Digest 

MUSEUMS 

Children  See  and  Do  in  This  Museum-School — Grace  Fisher 

Ramsey,    Curator    of   School    Relations,    American    Museum 

of  Natural  History — School  Executive,  31  :  46  January,  1943 

A   new  platoon   program  offers   a   full   day's  activities  in  a 

single  visit.     Teachers  may  select  any  of  a  choice  of  themes 

around   which   the    activities    are    organized.    Exhibits    on    the 

subject    being   studied    (primitive    peoples,    natural    resources, 

etc.)  may  be  examined  in  the  museum  halls.     Then  pupils  are 

given  time  for  manipulative  materials.     Films  are  shown  on  the 

topic  of  the  day.     After  lunch  a  special  visit  is  made  to  the 

Hayden    Planetarium,    followed    by    other    trips    to    pertinent 

exhibits. 

Classes  studying  topics  not  included  in  the  museum  pro- 
spectus may  have  specially  planned  programs.  Traveling 
exhibits  are  provided  by  a  few  of  the  municipal  museums 
when   visits   to   the   museum  are   impracticable. 

Other  museum  activities  include  a  16mm  educational  film 
library  for  national  distribution ;  guided  tours  for  service  men ; 
courses  on  geography  of  the  war,  special  exhibits  relating  to 
the  war;  etc.  "Museumettes"  are  being  built  to  teach  men  in 
the  army  natural  science,  such  as  poisonous  plants  and  insects, 
camouflage  and  story  of  flight. 

FLAT  PICTURES 

Picture  Collection  in  Hill  School  Library — Janies  V.  Mof- 

fatt,   assistant   librarian,      Hill      School,      Pottstown,      Pa. — 

Library  Jottrnal,  68 :6S   January    IS,    1943. 

A  description  of  the  techniques  and  procedures  in  build- 
ing a  picture  collection.  Equipment  includes  steel  files,  wooden 
processing  cabinet,  a  card  catalog  case,  a  letter  press,  type- 
writer, trimming  board  with  an  18"  blade.  Supplies  include 
cardboard,  Fotoflat,  labels,  etc.  The  processing  cabinet  is  4' 
high,  with  24  drawers  that  serve  as  a  /repository  for  over- 
size pictures,  as  well  as  storage  place  for  pictures  in  the  pro- 
cess of  being  mounted.  Sheets  of  22"x28"  boards  are  cut  in  two 
to  provide  a  standard  mount,  ll"xl4".  Neutral  gray  and 
brown  is  also  mixed  with  dark  green  and  other  colors  de- 
pending on  the  picture. 

Adhesive  for  the  pictures  presented  quite  a  problem.  Foto- 
flat applied  with  a  special  tool,  has  been  found  to  stand  up  best 
over  a  period  of  time.  The  labels  are  printed  on  forms 
which  give  the  school's  name  and  indicate  various  types  of 
pictures.  They  are  pasted  at  the  lower  left-hand  corner  below 
the  illustration. 

The  article  describes  methods  of  displaying  pictures  on 
grooved  molding,  subject  headings  used,  the  criteria  and 
methods  of  selection,  and  other  practical  suggestions  based  on 
experience. 

MAPS 

New  U.  S.-Centered  World  Map  for  Air-Minded  Americans 

— N.    L.    Engelhardt,    Jr. — Visual    Nezvs,    published    by    the 

N.J.  Visual  Education  Assn. — January,  1943. 

The  Centrifugal  World  Map  for  .'Kir-Minded  .Americans 
has  two  characteristics  which  help  to  allay  the  confusion 
and  bewilderment  with  which  many  people  are  faced  in 
following  the  course  of  this  global  war.  First,  the  U.S.  is 
located  at  the  center  of  the  map.  Second,  straight  lines 
drawn  from  the  U.  S.  to  all  places  in  the  world  represent 
the  shortest  routes  to  those  points.  Important  places  are 
indicated  by  a  dot,  and  no  outlines  are  indicated,  other  than 
the  small  one  for  the  U.S.  at  the  center. 

The  map  has  been  divided  into  six  parts  or  sextants' 
the  Asiatic  Sextant,  the  European-.'Vfrican  Sextant;  the 
Pan-American  Sextant,  the  Pacific  Ocean  Sextant,  the 
Pacific  Islands  Sextant  and  the  East  Indies  Sextant.  By 
three  arcs,  we  note  that  the  U.S.  is  30  hours  or  less  away 
from  any  point  in  the  world  by  air. 


Conducted    by    ETTA     SCHNEIDER 

.\n  illustration  of  the  map  is  printed  in  the  article.  Copies 
are  available  for  class  use  at  a  nominal  charge  from  Mar- 
guerite Kirk,  Newark  Department  of  Library  and  Visual 
Aids. 

Maps  in  War  Time— Walter  W.  Ristow,  Chief  of  the  Map 
Division,  New  York  Public  Library— Education,  63 :  273 
January,   1943 

A  statement  on  the  great  need  for  geographical  information 
that  can  only  be  found  in  maps  during  the  war  crisis.  The 
New  York  Public  Library  has  ample  evidence  of  the  public 
interest  in  maps  and  has  collected  a  wide  variety  of  timely 
maps  to  meet  this  interest. 

PHOTOPLAY    APPRECIATION 

Improving    Pupils'     Experiences     in     Moving     Pictures — 

A.    L.    Morgan,    principal,    Dowling    Junior    High    School. 

Beaumont,   TexSLS~Cteari>i(i   House.    17:231    December.   1942 

This  is  an  abstract  of  a  field  study  carried  on  for  the  Ed.  D. 
degree  at  Colorado  State  College  of  Education,  Greeley, 
Colorado.  An  examination  of  the  motion  picture  experiences 
of  the  Dowling  Junior  High   School  pupils  showed : 

l)That  children  attended  about  l.S  times  per  week,  an  average 
of  234  hours  per  year,  or  39  six-hour  school  days;  2)  that 
90%  of  these  students  get  their  parents'  consent;  3)  that  they 
seldom  disregard  their  parents'  wishes :  4)  that  73%  of  the 
parents  say  that  murder,  gangster  and  sex  pictures  are  bad  for 
boys  and  girls;  5)  that  they  usually  attend  alone  or  with  friends 
of  their  own  age;  6)  that  they  seldom  go  with  their  parents; 
7)  that  there  is  no  appreciable  effect  on  their  health  and 
growth ;  8)  that  day-dreaming  is  negligible  in  frequency :  9)  that 
the  films  they  like  most  are  airplane,  cowboy,  comedy,  spooky 
and  love  stories ;  10)  after  seeing  a  film  they  usually  want 
to  talk  about  it  or  read  a  story  similar  to  it,  or  do  something 
brave  and  daring,  or  go  out  and  have  a  good  time;  11)  that 
after  seeing  gangster  films  they  think  that  such  persons  ought 
to  be  punished,  or  they  feel  sorry  for  such  persons,  or  they  want 
to  be  policemen ;  or  they  think  nothing  at  all ;  12)  only  50% 
of  them  think  that  movies  cause  them  to  do  good ;  and  13) 
most  pupils  rated  a  list  of  15  personalities  in  a  manner  similar 
to  that  of  most  other  persons. 

The  author  concludes  that :  the  attitudes  of  Dowling  boys  and 
girls  are  definitely  affected  by  what  they  see  at  the  movies ; 
they  get  little  guidance  in  their  movie  going ;  parents  are  not 
actively  concerned  with  the  kinds  of  movies  their  children 
see,  and  the  practice  of  allowing  boj's  and  girls  to  go  to  the 
movies  alone  or  with  friends  of  their  own  age  is  a  doubtful  one. 
In  the  light  of  these  findings,  he  recommends  that  some  ,'tudy 
be  made  as  to  what  teachers  and  parents  can  do.  The  school 
program  should  teach  discrimination  in  movie-going.  Pupils 
should  be  encouraged  to  go  out  and  speak  on  movies  at  com- 
munity meetings.  Cooperation  with  local  theatre  managers 
in  showing  good  films  should  be  sought.  Each  P.T..\.  should 
make  a  study  and  act  on  movie-going  in  the  community,  and 
parents  are  also  committed  to  providing  good  substitutes  for 
movies. 

High  School  Students  are  Picture  Conscious — W.  C.  Cher- 

rington,     Idaho    Falls — Iciahn    Journal    of    Eciucatioi:.     14:81 

December,    1942 

A  survey  of  the  tastes  of  high  school  students,  numbering 
800  in  a  town  of  16,000,  revealed  that  they  prefer  picture 
magazines,  comics,  summary  magazines,  radio  and  movie 
and  sports  magazines  to  books  and  other  forms  of  recreational 
reading.  Their  interest  in  motion  pictures  was  consistently 
higher  than  in  newspapers,  magazines  or  libraries. 

The  writer  concludes  that  the  educational  program  should 
make  use  of  the  picture-mindedness  of  students,  using  this 
interest  to  work  toward  a  greater  interest  in  reading. 

(Concluded  on  page  150) 


April,  1943 


Page   149 


T  TERE  is  a  new  film  on  a  subject  which,  in  its 
-^  "^  relation  to  human  health,  has  never  been 
more  important  than  it  is  today.  Pictured  are 
various  adaptations  of  animal  teeth,  such  as  the 
tearing  teeth  of  the  shark — the  poison  fangs  of 
snakes — the  incisors  of  the  beaver — the  highly 
specialized  tusks  of  the  elephant,  wart  hog,  and 
walrus.  The  adaptation  of  teeth  to  herbivorous 
and  carnivorous  diets.  Human  teeth — their  types, 
their  uses,  their  importance  to  health.  Corrective 
dentistry.  1  reel,  16-millimeter,  silent — $24. 


Good  teeth  are  essential 
to  health  and  add  to 
the  oppearonce 


The  sharp  canines  of  the  dog  ore  adapted  for  tearing  meot 


Sharlts*  teeth,  arranged  in  rows,  ore  used  for 
catching  and  tearing  prey 


The  luslcs  of  the  walrus  are  used  for  purposes 
of  defense  and  locomotion 


Write  Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N.  Y. 

Eastman  Classroom  Films 


Page    150 


The  Educational  Screen 


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Fundamentals  of  Biology 

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SCIENCES,  fi,\  Suffern, 

PHOTOGRAPHY 

Photographic  Aids  to  Teaching:  Transparencies  to  Motivate 
Biological  Studies — Charles  Tanzer,  Bronx  High  School 
of  Science,  N.Y.C. — School  Science  and  Mathematics, 
42:758   December,    1942 

A  science  laboratory  was  decorated  by  having  portraits  of 
great  scientists  copied  from  the  halftones  in  books  and  en- 
larged on  transparent  stock  (Adlux  Defender),  mounted  on 
translucent  paper  and  inserted  in  the  window  panes.  Plate 
glass  covered  each  print  for  protection.  This  is  a  simple 
technique  and  need  cost  little,  for  example,  3  dozen  portraits 
cost  about  $4.00. 

RADIO 

How  Radio  Can  Contribute  to  Creative  Living — Dorothy 
Gordon — Childhood  Education,  19:212  January,  1943 
The  author  has  had  considerable  experience  in  planning 
and  performing  radio  programs  for  children.  She  has  found 
children  to  be  keenly  interested  in  programs  that  give  them 
a  chance  to  participate.  Some  of  the  creative  abilities  that 
may  be  stimulated  by  radio  are:  giving  children  a  chance  to 
sing  and  dance  the  folk  songs  they  hear  over  the  air,  imitating 
animal  sounds,  and  carrying  on  manipulative  activities  as  the 
ones  described  in  a  script  on  how  to  make  simple  instruments 
(reprinted   in   the   article.) 

PERIODICALS 

Sight  and  Sound,  11:  No.  43  Winter,  1942.  British  Film 
Institute,  4  Great  Russell  St.,  London,  W.  C.  1 
"A  Course  in  Cinema,"  described  by  a  youth  organiser,  de- 
scribes a  course  given  by  the  education  department  of  one  of 
the  largest  county  councils.  It  is  a  course  in  film  appreciation 
in  a  remote  village.  A  film  group  meets  at  the  village  school- 
room where  a  16mm.  sound  projector  is  available.  The  cost 
to  those  attending  is  no  more  than  the  fees  usual  under  the 
county  scheme  for  further  education.  The  course  is  divided  into 
two  sections :  one  dealing  with  the  social  influence  of  the 
film,  the  other  with  the  artistic  characteristics. 

"The  Film  in  Education,"  by  H.  S.  Magnay,  is  a  summary 
of  three  reports  published  by  the  British  Film  Institute.  Briefly 
it  recommended :  the  production  of  more  films  appropriate  for 
.school  use  following  upon  wider  collaboration  between  teachers 
and  producers ;  the  provision  of  funds  for  rentals  by  the  local 
education  authorities ;  extending  courses  for  teachers ;  en- 
couraging of  local  and  regional  film  libraries ;  and  the  support  of 
a  central  national  co-ordinating  institute. 

"Revolt  in  the  Classroom,"  by  G.  Patrick  Meredith,  lecturer 
in  visual  education,  deplores  the  fact  that  schools  and  teachers 
do  not  keep  up  with  the  times  in  using  mechanical  devices  in 
a  creative  fashion.  The  generalizations  made  by  the  author  are 
interesting :  a)  mechanism  is  a  creative  force  for  freedom ;  b) 
education  is  still  basically  pretechnic  in  spite  of  its  frills;  c) 
teachers  must  be  granted  the  freedom  of  the  Neo-technic  Age ; 

d)  the  co-operation  of  teachers  must  be  won  by  showing  that  the 
Neo-technic  Age  has  a  new  life  of  fulfillment  to  offer  to  them ; 

e)  all  educators,  including  scientists,  sociologists,  administrators, 
architects,  etc.  must  collaborate  in  constructing  the  Neo- 
technic  curriculum;  and  f)  Neo-technic  schools  must  have 
functional   architecture. 

SOURCES   OF  INFORMATION 

Films  for  America  at  War — Committee  on  Motion  Pictures 
in  Education,  American  Council  on  Education,  Washington, 
D.C. — Supplement  No.  1  to  Selected  Educational  Motion 
Pictures.    1942.   $1.00 

A  compilation  of  about  114  titles  on  machine  shop  training, 
first  aid,  health,  aviation,  occupations  and  war  production.  This 
bulletin  has  brought  together  information  on  each  film,  with 
respect  to  local  depositories  and  content  description.  The  ap- 
praisals have  obviously  not  been  prepared  with  the  thorough- 
ness of  the  preceding  compilation.  In  most  cases,  they  consist 
of  suggested  subject  matter  applicability. 

Selected    List   of    Films    for    Pre-Flight    Aeronautics    (In 

Teachers  Manual  for  Science  of  Pre-FIight  Aeronautics 
for  High  Schools,  by  the  Aviation  Education  Research 
Group,  Teachers  College,  Columbia  University,  prepared 
with  the  cooperation  of  the  Civil  Aeronautics  Adminis- 
tration, sponsored  bv  Institute  of  Aeronautical  Sciences. 
Macmillan.  1942  p.  240-245) 


April,   1943 


Page  151 


MAKE  VOUR  OWN 

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RADIO-MAT  SLIDE  CO.,  Inc. 

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Experimental  Research 

(Concluded  from  payc  142 J 

4)  Visual  aids  were  not  used  in  all  subject  matter  fields  in  the 
high  schools  during  the  time  covered  by  this  survey. 

5)  476  different  teachers,  or  twenty-four  percent,  in  seventy- 
six  of  Cincinnati's  eighty-nine  schools,  used  at  least  one  of 
the  four  types  of  visual  aids  during  the  first  five  months 
of  the  school  year,  1939-40. 

6)  Teachers  rated  the  available  aids  uniformly  good,  with 
the  exception  of  eight  percent  which  were  rated  medium  or 
poor,  chiefly  due  to  the  fact  that  they  were  considered 
too  advanced  for  the  pupils  on  the  level  on  which  they 
were  used. 

7)  Due  to  the  fact  mentioned  in  the  previous  item  and  to  the 
difficulty  in  getting  the  desired  information,  a  suggested 
projection  report  form  was  offered  for  consideration  by 
the  exchange. 

8)  It  was  found  that  the  average  daily  attendance  in  January 
1940,  was  approximately  two  and  one-half  times  that  in 
September  1939. 

9)  The  average  attendance  at  showings  was  larger  than  the 
average  class  size,  indicating  that  classes  were  frequently 
combined  by  teachers  when  using  visual  aids. 

10)  The  number  of  teachers  using  visual  aids  doubled  during 
the  time  covered  by  this  survey. 

11)  There  was  a  continuous  month  by  month  increase  in  the 
use  of  visual  aids  during  the  time  covered  by  this  survey. 

12)  All  types  of  visual  aids  included  in  this  study  were  used 
as  instructional  tools  in  special  classes  for  the  mentally 
deficient,  the  deaf,  and  the  physically  handicapped. 

Title:  AN  EVALUATION  OF  EDUCATIONAL  FILMS 

AVAILABLE    IN   THE    FORT    WORTH    SCHOOL 

FILM  LIBRARY  FOR  ELEMENTARY  GRADES 
Investigator:  Seth  Vinson  Stu.mn 

For  the  degree  of  Master  of  Science  (Education),  com- 
pleted 1942— North  Texas  State  Teachers  College,  Denton, 
Texas 

The  data  for  this  study  were  collected  by  evaluating  edu- 
cational motion  picture  films  based  upon  a  given  set  of  criteria 
from  qualified  educators. 

The  study  divides  the  evaluation  of  educational  motion 
picture  films  into  three  sections: 

(X)  teaching  effectiveness,  (2)  mechanics  of  the  film,  and 
(3)    administrative    factors. 

The  first  part  of  the  study  deals  with  recency  of  films,  accu- 
racy, length,  and  probable  age-grade  levels.  The  second  division 
reveals  the  clarity  of  objects  and  scenes,  adequacy  of  close- 
ups,  sound  quality,  types  of  photography,  vocabulary,  and 
organization. 

The  last  section  reviews  the  price  of  films,  nature  of  adver- 
tising films,  conditions  under  which  films  are  obtainable 
for   schools,   and  the    reviewing   committee. 

The  author  concludes  that  materials  in  the  majority  of  the 
films  lend  themselves  readily  to  coordination  with  the  natural 
activities  of  the  child. 


Comparative  Effectiveness  of  Pictorial  Teaching  Materials — 
David  J.  Goodman — Research  Contributions  to  Safety  Edu- 
cation, Center  for  Safety  Education,  Division  of  Central 
Education,  8  Fifth  .\ve..  New  York,  N.  Y.  Vol.  4,  No.l 
1943.  30p.  35c. 
This  study  was  sunmiarized  by  the  author  in  the  November, 

1942   issue   of    Educational  Screen.     It  is  a   great   hel))   to 

have  the  data   readily  accessible   in  pamphlet   form   at   a   very 

small  cost. 


Whether  you  seek 
EDUCATION  or  ENTERTAINMENT 

you  will  find  that 
the  VISUAL  way  is  the  BEST  way! 

Increase  your  knowledge  of  world  affairs 
and  home  affairs;  enjoy  the  thrills  of  your  favorite 
sport  in  season  and  out  of  season;  "See  America 
and  travel  to  the  four  corners  of  the  world;  ...  or 
see  Hollywood's  greatest  stars  in  their  greatest 
pictures,  just  as  they  are  shown  on  the  screens  of 
America's  theatres! 

Here  are  some  of  the  outstanding  dramatic, 
musical,  and  comedy  successes  of  the  year,  pro- 
nounced  by  the   leading   motion   picture  critics  as 

"Pictures  You  Must  Not  Miss!" 


ABBOTT  &  COSTELLO 

— the  comedy  team  voted  by  the 
nation's  picture  fans  as  the 
Number  I  Attraction  ...  in  two 
of   their   funniest    pictures — 

"KEEP  'EM  FLYING" 

— a  story  of  the  two  nit-wit$  who 
get  tangled  up  with  the  atr 
corps,  bringing  to  the  screen 
some  of  the  most  thrilling  and 
spectacular  air  shots  ever  filmed 
and — 

"RIDE  'EM  COWBOY" 

— a  picture  which  puts  these  ace 
comedians  on  horses,  but  can't 
keep  'em  there.  A  hilarious 
comedy  featuring  an  all  star 
cast   of    Hollywood    beauties. 

"WHArS  COOKIN' " 

Here  is  one  of  the  liveliest  musi- 
cal comedies  of  the  year,  with 
an  all  star  cast,  featuring  the  de* 
lightful  little  song-brd  GLORIA 
JEAN.  It's  one  for  the  hep-cats 
— young   and   old. 

Deanna  Durfain 

Charles  Laughton 

in  "IT  STARTED  WITH  EVE" 

Two  great  stars  in  one  of  the 
finest    comedies    of    the    year. 

"BROADWAY" 

George  Raft  at  his  best  ...  in 
the  role  of  a  Broadway  hoofer 
during  the  prohibition  days.  Ac- 
tion,   pathos   and    romance. 


"BUTCH  MINDS  THE  BABY" 

The  delightful  Damon  Runvon 
story  put  on  the  screen  with  Brod 
Crawford  as  Butch.  Tl'e  critics 
call    this    a    "must'    picture. 

"THE  SPOILERS" 

Here  is  the  picture  that  made 
motion  picture  history  with  the 
dramatic  fight  between  John 
Wayne  and  Randolph  Scott.  Mar- 
lene    Dietrich    Is   also   starred. 

''SABOTEUR" 

Here  is  Alfred  Hitchcock,  master 
of  suspense,  af  his  best.  It  is  a 
story  of  what  could  be  happen- 
ing in  your  town  today. 

Burma  Convoy 
Flying  Cadets— Road  Agent 

Three  action-adventure  pictures 
with  top  flight  stars,  each  of 
which  It  guaranteed  to  provide 
you  and  your  friends  with  a  glori- 
ous evenmg  of  entertainment. 

We  are  also  proud  to  make 
available  to  you  at  this  time, 
two   feature    productions. 

"CAVALCADE  OF  AVIATION" 
"MENACE  of  the  RISING  SUN" 

These  two  featuretteswere  actually 
billed  as  features  in  the  finest 
theatres  of  America.  They  are 
timely,  thrilling,  spectacular  and 
authentic. 


UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


Page    152 


The  Educational  Screen 


Cuzzsni  \jLLm  <J\s.(jj^ 


■  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York  City,  presents  the  first 
fighing  action  pictures  of  U.  S.  troops 
in  North  Africa  in  their  latest  war  re- 
lease,   entitled : 

Battle  for  Tunisia— 1  reel  16nini 
sound  and  silent.  The  air  fighting  that 
has  featured  the  struggle  for  Tunisia 
is  shown  in  all  its  fury.  On  the  ground 
armoured  forces  clash  in  hattle  for  the 
passes  that  lead  through  the  mountains. 
A  daring  .Army   cameraman    films  one 


On  the  Tunisian  front 

of  these  clashes  from  a  nearby  hilltop, 
with  both  armies  in  range  of  his  lens! 
As  the  battle  rages,  hidden  Nazi  gun 
emplacements  are  blown  up,  low-flying 
Yank  fighter  planes  strafe  enemy  tanks 
and  motorized  columns  as  they  re- 
treat across  the  desert.  A  particularly 
amazing  sequence  is  that  of  a  diving 
plane  as  it  attacks  an  Axis  ship  off 
the    coast   with   pounding  cannon    fire. 

■  Brandon  Films  Inc.,  1600  Broadway, 
New  York  City,  announce  the  release 
in  16mm  sound  of  several  new  motion 
picture  productions  to  aid  the  United 
Nations  campaigns  on  the  home  and  war 
fronts  dealing  with  Jugoslavia,  Czecho- 
slavia.  The  Netherlands,  Soviet  Russia, 
and  China.  The  new  releases  are  being 
made  available  individually  for  rental  and 
sale,  as  part  of  the  United  Nations  Film 
Festival  program  arranged  by  this  firm. 
Included  are: 

The  Moldau — 1  reel — a  film  interpre- 
tation of  a  symphonic  poem  by  B. 
Smetana  played  by  the  Prague  Phil- 
harmonic Orchestra  and  based  pictor- 
ially  on  the  cultural,  social,  industrial, 
and  military  life  of  the  Czechoslovak 
Republic  during  the  period  of  the  Pres- 
idency of  Thomas  G.  Masaryk;  the 
first  of  a  series  of  six  shorts,  all  based 
on  Smetana's  world  famous  symphonic 
cycle,  "My  Country." 

The  Falcons — 1  reel — a  lively  and 
historic  record  of  the  role  of  the 
"Sokols"  (sport  and  folk  organizations) 
in  the  peacetime  and  wartime  life  of  the 
Czechoslovak  Republic. 

One  Hundred  For  One-  -2  reels — 
inspiring  story  of  the  heroic  people  of 
"occupied"  Jugoslavia  and  their 
glorious    alliance     with    their    uncon- 


querable guerilla  partisan  bands  to 
free  their  native  soil  from  the  German 
and  Italian  Fascist  hordes. 

Netherlands  America — 1  reel — (black 
and  white,  and  kodachrome  versions) 
— pictorial  evidence  of  the  great  value 
to  the  United  Nations  war  effort  of 
the  Islands  of  the  The  Netherlands 
in  the  West  Indies — Curacao,  St. 
Martin,  Saba,  St.  Eustatius ;  and 
Dutch  Guiana,  revealing  these  wind- 
swept    sources   of     bauxite     and     oil. 

Among  the  features  released  are  The 
Siege  of  Lcniiuirad;  The  Diary  of  a 
Nasi;  Mashenka,  The  Woman  Sniper; 
Fortress  On  The  Volga  {Stalingrad); 
and  Tliis  Is  The  Enemy.  These  new- 
full  length  dramatic  war  features  run  75 
minutes  and  are  16mm  reduction  prints 
of  the  3.Smm  versions  now  playing  in 
theatres  over  the  nation.  All  of  the  new 
film  releases  are  described  in  Wartime 
Film  Bulletin  No.  1,  available  free  of 
charge   upon    request   to   Brandon   Films 

■  Bell  &  Howell  Co.,  1801  Larch- 
mont  Ave,  Chicago,  has  added  the  fol- 
lowing sound  reel  to  its  Library : 

American  Handicrafts — produced  by 
Lucia  Mysch,  of  Ball  State  Teachers 
College,  Muncie,  Indiana.  The  film  is 
an  interesting  and  instructive  tcacher- 
njade  record  of  textile,  pottery,  wood- 
carving,     and     glass-blowing     cottage 


Mountain  handicraft  workers 

industries  in  the  North  Carolina  moun- 
tains. It  is  available  in  black-and- 
white,  or  part-color,  for  rental  or  sale. 

■  Commonwealth  Pictures  Corp.,  729 
Seventh  Ave.,  New  York  City,  have  ac- 
quired the  16mm  distribution  of  the  8- 
reel  Charlie  Chaplin  Festival,  presenting 
four  of  Charlie's  greatest  early  hits  in  a 
modern  streamlined  version,  namely: 

Easy  Street,  The  Adventurer,  The 
Cure,  The  Immigrant — each  2  reels. 
Hilarious  highlights  are  Charlie  "gass- 
ing" a  28S-pound  thug  with  the  aid  of 
a  street  lamp,  trying  to  retrieve  a  lost 
lump  of  ice  cream  from  a  dowager's 
back,  doing  an  impromptu  series  of  liv- 
ing statues,  and  fumbling  over  a 
restaurant  check.  These  revivals  af- 
ford the  youth  of  America,  who  have 
never  seen  Chaplin  in  his  original 
comedy  character,an  opportunity  to  see 
why  he  has  been  called  "the  funniest 
clown  in  all  history." 


PROTECT    FILMS 


VAP.QlRATE 

ASK  TOUR  DEALER  OR  PHOTOFINISHER 

VAPORATECO..  INC.*  BELL  «  HOWELL  CO. 

'  >  "S' 46th  St    ""I    Larch  mint.  ChlCMt 

NewYork,  N.  Y.        7ieN.  Labrea.  Hollywood 


AGAINST 
CLIMATE 
SCRATCH- 
ES. STAINS 
FINGER- 
MARKS-THE 
WAY  THE 
U.  S.  GOV- 
ERNMENT 
AND  THE 
HOLLY- 
WOOD  PRO- 
DUCERS DO 


■  Walter  O.  Gutlohn,  Inc.,  25  W. 
45th  St.,  New  York  City,  have  just 
printed  their  latest  catalog  listing  close 
to  3000  16mm  sound  and  silent  films 
available  for  rental,  lease  or  sale. 

This  catalog,  consisting  of  152  pages, 
profusely  illustrated  and  indexed  for 
ready  reference,  is  the  largest  ever  issued 
by  Walter  O.  Gutlohn,  Inc.,  Among  the 
many  entertainment  and  educational  sub- 
jects represented  are :  RKO  and  Uni- 
versal Major  Features,  Independent 
Features,  Foreign  Language  Features, 
Westerns,  Serials  and  Diversified  Shorts 
including  musical  films,  physical  fitness, 
Prc-Fii-jht  Training  films,  O.W.I.,  Inter- 
American  and  other  related  war  effort 
films  as  well  as  a  large  group  of  edu- 
cational    shorts. 

A  copy  of  the  new  Gutlohn  Catalog 
may  be  had  by  writing  to  Walter  O. 
Gutlohn,    Inc. 

■  Frpi  Classroom  Films.  Inc..  1841 
Broadway,  New  York  City,  have  pre- 
pared a  series  of  films  on  contemporary 
life  in  the  six  major  regions  of  the 
LInited  States,  pointing  out  the  aspects 
and  contribution  of  each  region  and  the 
interdependence  existing  between  them. 

The  Far  Western  States  describes 
the  economy  of  the  region,  industrial 
activities,  and  sectional  contrasts  with 
respect  to  climate,  topography,  people 
and  population   densities. 

The  Middle  States  presents  an  over- 
view of  agricultural  and  industrial  pro- 
jects in  this  region.  Domestic  and 
European  migration  and  population 
trends  are  indicated. 

The  Northeastern  States  interprets 
the  historical  progress  in  the  develop- 
ment of  resources  in  this  area.  Con- 
sideration is  given  to  features  of  the 
land,  textile,  clothing  and  heavy  indus- 
tries, transportation  and  recreational 
facilities. 

The  Northwestern  States  treats  the 
topoeraphy,  rainfall,  drainage,  fauna 
and  flora,  people,  metropolitan  centers, 
scenic  and  recreational  features,  trans- 
portation and  commercial  activities, 
natural  resources,  and  agricultural 
situations. 

The  Southeastern  States  delineates 
the  variety  of  living  patterns — stately 
plantation  homes,  mountain  cabins, 
modern  homes  in  cities,  blue  grass 
country,  farms  and  factories. 

The  Southwestern  States  portrays 
characteristic  features  including  the 
imprint  of  Spanish  and  Indian  cultures. 
Irrigation,  stock  raising,  minin.g,  agri- 
culture, and  oil  extracting  and  drilling, 
are  among  the  occupational  activities 
covered. 

(Concluded  on  page  154) 


April,   1943 


cz^moncj  tks.  ^%oduas,x± 


E,  C.  Dent  Appointed 
SVE  General  Manager 

Ellsworth  C.  Dent,  formerly  RCA 
Educational  Director,  has  been  appointed 
General  Manager  of  the  Society  for 
Visual  Education,  Inc.,  Chicago,  it  was 
announced  by  Miss  Marie  Witham, 
President  of  S.  V.  E.  He  began  his  new 
duties   April    1. 

"The  addition  of  Mr.  Dent  to  our 
organization,"  said  Miss  Witham,  "will 
place  us  in  a  better  position  to  serve  the 
training  iniits  of  the  armed  forces  until 
the  war  is  won.  At  the  same  time,  his 
broad  experience  will  aid  us  in  making 
appropriate  plans  for  the  expected  post- 
war increase  in  the  use  of  visual  aids 
and  equipment  among  schools,  churches, 
liomes  and  in  industry." 

Mr.  Dent  received  his  early  training 
in  education  at  the  Kansas  State  Teachers 
College  of  Emporia.  This  was  followed 
by  graduate  work  in  Education  while 
in  charge  of  the  Bureau  of  Visual  In- 
struction. University  of  Kansas,  a  service 
organization  for   the   schools  of  Kansas. 


E.  C.  Dent 

During  his  ten  years  at  the  University 
01  Kansas,  he  expanded  the  visual  in- 
struction services  to  meet  the  growing 
neetis  of  schools,  including  one  of  the 
first  loan  libraries  of  educational  slide- 
films.  The  Bureau  also  maintained  an 
e(|uipment  recommendation  service,  to  aid 
schools  in  the  selection  of  projectors, 
screens,  cameras  and  materials. 

His  next  assignment  was  the  organi- 
zation f>f  visual  instruction  service  for  the 
Inter-Mountain  Area,  at  Brigham  Young 
University.  Provo,  Utah.  This  was  fol- 
lowed by  nearly  three  years  with  the 
United  States  Department  of  Interior, 
v.here  he  became  Director  of  the  Division 
of  Motion  Pictures  and  supervised  the 
prfKhiction  and  distribution  of  pictures, 
films  ami  slidefilms  for  educational  use. 

For  the  seven  years  prior  to  his  ap- 
pointment as  General  Manager  to  S.V.E.. 
Mr.  Dent  has  been  Educational  Director 
of  the  RCA  Victor  Division.  Radio 
Corporation  of  .■\merica.  In  this  work, 
his  responsibilities  involved  the  planning 


of  audio-visual  products  for  use  in  schools, 
and  the  direction  of  sales,  promotion  and 
advertising  activities  in  the  school 
market. 

He  has  made  frequent  appearances  be- 
fore state  and  national  educational  con- 
ventions and  organizations.  He  has  also 
lectured  during  summer  sessions  and 
other  college  and  university  audio-visual 
training  courses.  He  is  author  of  The 
Audio-Visual  Handbook,  widely  used  as 
a  text  and  for  reference  by  the  field. 

Visual  Unit  on  Slidefilm  Utilization 

The  effectiveness  of  the  visual  teaching 
session  depends  upon  numerous  fac- 
tors. One  of  these,  frequently  over- 
looked, is  efficiency  in  the  "mechanics" 
of  conducting  such  classes,  such  as 
room  preparation,  lighting,  projection 
arrangements  and  student  placement. 
The  objective  of  the  visual  lesson  fre- 
quently falls  short  through  lack  of  con- 
sideration of  certain  small  but  import- 
ant details  which  can  easily  be  prevent- 
ed by  careful  planning  in  advance.  At 
a  time  when  effective  visual  leachiii;; 
is  more  necessary  than  ever,  it  is  im- 
portant to  observe  certain  fundamental 
principles  of  good  teaching  technique 
and  give  careful  attention  to  the 
mechanics  of  projection.  Concrete  sug- 
gestions are  offered  in  the  form  of 
discussional  or  reading  type  of  slide- 
film,  consisting  of  80  frames,  produced 
by  the  Jam  Handy  Organization,  290U 
E.  Grand  Blvd.,  Detroit.  The  title  of 
the  unit  is  "Tips  on  Slidefilms"  and  it 
is  available  to  any  teacher  or  school 
for  only  6Sc.  The  material  presented 
IS  condensed  from  the  experience  gain- 
ed in  hundreds  of  visual  teaching 
classes  and  visualized  meetings  in 
schools  and  colleges,  and  particuiar'y, 
industry.  The  subject  is  presented  in 
five  topics  as  follows: 

I.  Preparing    the    Classroom — illus- 

strating  in  detail  correct  pro- 
jector and  screen  placement, 
handling  of  projector  cord,  etc. 

II.  The  Projector  and  its  Use — giv- 

ing details  on  proper  loading 
and  handling  of  projector  to 
ensure   smooth   performance. 

III.  The  Projector  in  the  Meeting — 

presenting  the  instructor's  role 
in  introduction  of  subject,  pre- 
sentation, class  discussion  and 
final  summary. 

IV.  Individual     Use     of     Slidefilm— 

demonstrating  how  the  slide- 
film  may  be  used  in  the  work- 
shop, by  projecting  it  on  the 
floor  or  ceiling,  to  the  benefit 
of  the  worker  engaged  in  a 
mechanical  operation  visualized 
in  the  film. 
\'.  Use  of  Slidefilm  as  a  Reference — 
showing  how  filmslide  subjects 
can  be  filed  and  indexed  for 
ready  reference,  and  how  the 
slidefilm  can  be  projected  on 
a  blackboard  and  traced  for 
continuous  reference  or  study. 


Plug  the 

projector  cord 

into  a  socket  that 

will  still  be  "live" 

when  the 

room  lights  are 

turned  out. 


.CipcuHA- 
Closnroom  Li^ts 


CUwrooiM  «hould  be  in  rewiinew  for  the 
diaefilm  piwenutioo  before  the  class  coovenefc 
Three  minute*  k)«  by  20  students  waiting  for  the 
teacher  to  make  preparations  is  one  hour  wasted. 


*<5 


\, 


/ 


A^' 


Students  should  view  the  screen  at  not  more 
than  a  45-degree  angle,  or  —  _ 


The  room  must  be  reasonably  dark. 


window  shades,  paper,  doth,  or  whitewash 
will  darken  the  windows  sufficiently.  , 


The  inctnictor  reads  all  the  copy  in  a  clear  ' 
voice  to  nuke  sure  that  all  students  keep  up  widi 
the  pieeenution.  Thus,  the  class  gets  an  over-all 
conception  of  the  subject.  „ 


The  slidelilm 
library  contain 
many  picttires 
that  could  be 
tTai»ion  the 
blackboardor 

on  a  chart 

ior  continuous 

reference  or 

■tody. 


Frames  from  "Tips  on  Slidefilms'; 


Page    154 


The  Educational  Screen 


Keystone  Aircraft  Slides 

A  series  of  100  lantern  slides  is 
offered  by  the  Keystone  View  Com- 
pany for  high-school  courses  in  aero- 
nautics for  preliminary  instruction  in 
the  recognition  of  friendly  and  enemy 
planes  of  all  types.  The  author  of  the 
series  is  George  F.  McCahey  of  Rhode 
Island  State  College. 

There  are  five  units  in  the  series: 
Unit  I — Single-engined  Monoplanes; 
Unit  II — Twin  engined  Monoplanes; 
Unit  III — Multi-engined  Monoplanes, 
Unit  IV— Water  Planes; 
Unit  V — Miscellaneous   Planes. 

The  author  has  had  a  great  deal  of 
experience  in  this  field  and  has  given 
in  the  case  of  each  plane,  the  silhouette 
that  will  contribute  most  to  the  devel- 
opment of  permanent  recognition  infor- 
mation as  referring  to  that  model. 

A  title  list  of  this  series  of  units  will 
be  furnished  upon  request  to  the  Key- 
stone View  Co.  As  new  types  of  planes 
are  developed,  supplements  will  be 
issued.  The  price  of  the  series,  with 
teachers'  manual  and  slide  case,  is 
$40.00.  The  set  in  2-inch  slides  costs 
$20.00. 

Scenic  West  in  Kodachromes 

A  selection  of  2  x  2  Kodachrome  slides 
on  the  scenery  and  natural  history  of  the 
western  mountains  and  deserts,  and  the 
activities  of  mountaineering  clubs  is  now 
being  offered  for  rental  by  C.  Edward 
Graves,  well-known  scenic  photographer 
of  the  West.  They  are  designed  for  use 
by  schools  and  colleges  and  also  for 
entertainment  purposes  for  church  groups, 
women's  clubs,  or  garden  clubs.  Ac- 
companying each  slide  is  a  descriptive 
manual  which  can  be  read  during  showing 
of  the  slides.  For  further  information 
write  to  C.  Edward  Graves,  P.O.  Box  37, 
Areata,  California. 

Visual  Aids  on  the  Netherlands 

A  Kit  of  Visual  Teaching  Aids  on 
Holland  and  the  Netherlands  territories 
in  the  East  and  West  Indies  lias  been  pre- 
pared by  Foley  &  Edmunds,  Inc.,  480 
Lexington   Avenue,   New   York   City. 

A  complete  visual  story  on  Holland 
is  presented  by  means  of  two  filmstrips, 
charts,  and  a  picture  set  of  twelve  photo- 
graphs depicting  the  cultural  contri- 
butions of  Holland.  Each  strip  has 
approximately  fifty  frames,  and  shows 
the  geographical  features  of  the  country, 
their  influence  on  the  industries  and 
activities  of  the  people,  and  finally, 
aspects   of   social    life    in    Holland. 

Three  filmstrips  portray  the  geo- 
graphical controls  and  features  of  the 
Netherlands  East  Indies,  their  scenic 
wonders,  resources  and  industries, 
activities  of  the  people,  etc.  Charts 
compare  the  East  Indies  with  the  United 
States,  and  show  their  development  and 
share  of  world  production. 

One  filmstrip  tells  the  geographic 
story  of  the  Netherlands  West  Indies,  and 
a  chart  presents  data  on  population,  size, 
lesources,  trade  statistics,  etc. 

A  Teacher's  manual  accompanies  each 
of  the  three  units  in  this  Kit. 


RCA  Spanish  Music  Records 

The  use  of  records  as  an  aid  to  the 
study  of  Spanish  through  music  is 
being  advanced  by  RCA  Victor,  which 
has  announced  the  release  of  seven 
albums  of  songs  of  Latin  American 
countries.  With  a  view  to  giving  the 
maximum  of  aid  to  Spanish  students, 
Victor  has  included  in  each  album 
four  supplementary  booklets  which 
give  the  Spanish  lyrics  of  each  song, 
the  phonetic  pronounciation  of  the 
lyrics,   and   their   English    translation. 

The  titles  of  the  RCA  Victor  albums 
are:  "Mexicana,"  "Spanish  Through 
Music,"  "Fiesta  in  Cuba,"  "Fiesta  in 
Argentina,"  "Carnival  in  Rio,"  "Fiesta 
in  Chile,  Bolivia  and  Peru,"  and 
"South  America  Fiesta."  There  are 
forty-six  songs  in  the  entire  group. 

In  addition  to  choosing  typical  na- 
tive selections,  RCA  Victor  has  care- 
fully selected  for  the  recordings  art- 
ists who  are  native?  of  the  countries, 
and    who   enunciate    the    Spanish    lan- 


guage clearly  and  correctly.  Through 
this  method,  it  is  believed  that  indi- 
vidual and  group  singing  in  the  class- 
rooms will  enable  students  not  only 
to  become  acquainted  with  the  Latin 
American  songs,  but  will  also  make 
the  study  of  Spanish  more  interesting. 
The  albums  were  made  at  the  re- 
quest of  Henry  A.  Wallace,  Vice 
President  of  the  United  States,  and 
grew  out  of  NBC's  weekly  series  of 
broadcasts  entitled  "Pan  American 
Holiday." 

Kodachrome  Slides 

on  Historic  Philadelphia 

.\  series  of  2  ,x  2  Kodachrome  slides 
on  places  of  historical  interest  in  Phila- 
delphia, are  offered  for  sale  by  Klein 
and  Goodman,  of  that  city,  located  at 
18  S.  Tenth  Street.  Places  pictured 
include  Independence  Hall,  Betsy  Ross 
House,  Liberty  Bell,  Carpenters  Hall, 
interior  views  of  the  Declaration  Cham- 
ber, and  others.  Complete  list  can  be 
had  by  request  to  Klein  and  Goodman. 


Current  Film  News 

(Concluded  from  page  152) 

■  Eastman  Kodak  Company,  Teaching 
Films  Division,  Rochester,  N.  Y.,  has 
produced  the  following  new  health  films : 

Public  Health  Service — 1  reel,  16mm 
sound — surveying  the  work  of  public 
health  organizations  and  pointmg  out 
their  vital  importance  to  the  commun- 
ity in  wartime.  The  film  covers  the 
many  valuable  services  rendered  by 
the  public  health  laboratory  and  its 
trained  scientists,  including,  the  exam- 
ination of  milk  for  bacteria,  inspection 
of  water  and  meat,  treatment  of  com- 
municable diseases,  operation  of  public 
health  clinics,  and  supervision  of  living 
conditions   and   playgrounds. 

Forms  and  Uses  of  the  Teeth — 1  reel 
16nim  silent — demonstrating  the  rela- 
tion of  good  teeth  to  health.  Various 
adaptations  of  animal  teeth  are  shown, 
using  the  shark,  snake,  beaver,  ele- 
phant, wart  hog,  and  walrus  for  illus- 
tration. The  film  reveals  how  teeth 
have  been  adapted  to  herbivorous  and 
carnivorous  diets.  Next,  the  types  and 
uses  of  human  teeth  are  presented, 
with  a  sequence  on  the  accomplish- 
ments of  corrective  dentistry. 

■  Ideal  Pictures,  28  East  8th  St.,  Chi- 
cago, have  issued  a  16-page  Supplement 
No.  1  to  their  23rd  Annual  Edition 
C'atalogue,  which  they  call  the  "Home 
Front  Offensive  Number."  Among  new 
acquisitions  are :  six  of  the  Dr.  Christian 
series  of  stories  starring  Jean  Hersholt, 
and  other  theatrical  features  produced  by 
RKO,  Columbia,  and  Universal ;  John 
Steinbeck's  The  For<iottcn  Village:  the 
British-made  film  The  Man  at  the  Gate, 
starring  Wilfred  Lawson  of  Pastor  Hall 
fame,  and  other  religious  subjects;  and 
many  educational  shorts  on  animal  life, 
athletics  and  sports,  aviation,  geography, 
history,  science  and  industry.  The  section 
devoted  to  "Victory  Subjects''  includes 
films  released  by  the  Ofiice  of  War  In- 
formation, Coordinator  of  Inter-.^merican 
.Affairs  and  British  Press  Service. 


B  National  Film  Board  of  Canada.  84 
East  Randolph  St.,  Chicago,  announces 
that  the  following  Canadian  production, 
heretofore  shown  in  the  United  States 
only  theatrically  by  United  Artists,  is 
now  available  in  16mni  sound  to  the 
non-theatrical   field: 

Food,  Weapon  of  Conquest, — one  of 
the  "World  in  .Action"  series — goes  far 
beyond  the  problem  of  feeding  the  mil- 
itary forces  of  the  L'nited  Nations  and 
penetrates  behind  the  Nazi  lines  to 
report  the  fate  of  conquered  countries 
forced  to  turn  over  their  farm  produce 
to  the  conqueror.  Food  is  the  bait  used 
to  draw  into  Germany  the  skilled  labor 
which  the  Reich  needs  for  its  war  ma- 
chine. The  picture  presents  a  stirring 
challenge  to  the  Western  World  faced 
eventually  with  the  problem  of  feeding 
millions  throughout  the  continents  of 
Europe  and  Asia. 

Sales  of  this  film  are  handled 
through  Educational  Film  Library 
Association,  45  Rockefeller  Plaza,  New 
York  City. 

■  HoFFBERG  Pkoductions,  1600  Broad- 
way New  York  City,  are  distributing 
two  1-reel  sound  subjects  dealing  with 
activities  and  landmarks  around  Balti- 
more, and  a  reel  on  Annapolis : 

Baltimore,  Home  of  the  Star 
Spangled  Banner  shows  scenes  at  his- 
torical Fort  McHenry,  where  Francis 
Scott  Key  wrote  the  National  Anthem. 
The  government  recently  spent  $50,000 
to  restore  this  National  Shrine  to  its 
1814  appearance.  Also  depicted  in  this 
reel  are  Johns  Hopkins  Hospital,  the 
Duchess  of  Windsor's  home,  Washing- 
ton Monument,  and  other  famous 
I'laces    of    Baltimore. 

Oyster  Fleet  presents  the  Chesa- 
peake   Bay   oyster    industry. 

Future  Admirals,  an  interesting  short 
on  the  Naval  Academy  at  .\nnapolis, 
was  made  under  the  supervision  of  the 
U.   S.   Navy. 

Scripts  for  all  three  of  the  films 
were  written  by  Philip  Provenza,  Balti- 
more lawyer. 


April,    194i 


Page    155 


FOR    AMERICAN    FIGHTERS 


AM  PRO 

PRICISION      CINE      IQUIPMENT 


THE    JUNGLE 


It  seems  unbelievable — but  U.  S.  fighters  are  seeing  the  latest 
sound  movies,  uitli  rirh.  life-like  tone  (|ualitv.  projeeted  brilliantly 
clear  right  in  the  initldle  of  the  steaming,  malaria  ritlden.  inseet 
infested  jungles  of  the  Solomons. 

The  above  illustration  is  based  on  an  aetual  set-up  in  i\ew 
Guinea,  one  of  a  ehain  of  theatres  in  whieh  Red  Cross  Field 
Director  James  Stew  art  projects  the  latest  sound  films  to  American 
and  Australian  front  line  fighters. 

Today,  the  Special  Service  units  provide  each  overseas  division 
of  the  I  .  .S.  Army  with  several  complete  portable  16  mm.  sound 
projector  outfits.  Films  are  rushed  to  the  various  fronts  \  la  trans- 
port planes.  In  this  way,  L.  S.  fighters  from  the  .Aleutians  to 
Tunisia,  who  consider  movies  as  important  as  fcMnl.  are  thrilled 
with  the  cream  of  America's  best  and  latest  motion  pl<'tures. 

The  Ainpro  Dual  Lnit  here  illustrated  known  as  the  "J  Kit"  is 
standard  equipment  for  Special  Service  Units.  In  addition,  thou- 
sands of  Ampro  16  mm.  projectors  are  being  used  in  training  men 
in  the  Army,  Na\y  and  Air  Corps.  Ampro  facilities  are  engaged 
100%  in  prodiu'ing  projectors  and  oth<'r  jjrecision  e(|uipment  for 
the  r.  S.  Vtar  effort.  Ampro  engineering  is  going  ahead  at  full  speed. 
To  keep  in  touch  « ith  the  latest  developments  in  16  mm.  proje<-tion, 
make  certain  your  name  is  on  the  Ampro  mailing  list.  AX  rite  tmlav  ! 

AMPRO  CORPOR.\TION,  2851  N.  Western  Ave.,  Chicago,  III. 


Page    156 


The  Educational  Screen 


|LJT7TDTr'      TfT-XP^S^       11   DH'  a  Trade  Directory 

jnJ^XVJLj       X   Xlu   X        X^XXU  for  the  Visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425  Williams  St.,  Denver,  Colo. 

Bailey   Film   Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815  Larclimont  Ave..  Chicago 

(See  advertisement  on  page  125) 

Better  Films  (2) 

742A  New  Lots  .\ve.,  Brooklyn,  N.Y. 
(See  advertisement  on  page  150) 

Brandon  Films  (3) 

1600  Broadway,  New  York  City 

(See  advertisemnt  on  page  146) 

Bray  Pictures  Corp.  (3,  6) 

729   Seventh   Ave.,    New   York  City 

(See  advertisement  on   page   114) 

Castle  Films  (2,  5) 

RCA  Bldg.,  New  York  City 

(See  advertisment  on  page  121) 

Commonwealth  Pictures  Corp        (2,  5) 

729  Seventh  Ave.,  New  York  City 

(See  advertisement  on  page  150) 

College  Film  Center  (a.  5) 

84  E.   Randolph  St.,  Chicago. 

(See  advertisement  on  Page  143) 

Creative  Educational  Society  (1) 

4th  Fl.,  Coughlan  Bldg. 
Mankato,  Minn. 

DeVry  School  Films  (3) 

nil  Armitage  Ave.,  Chicago 

(See  advertisement  on  page  122) 

Eastman  Kodak  Co.  (3) 

Teaching  Films  Division 
Rochester,  N.  Y. 

(See  advertisement  on  page  149) 

Eastman  Kodak  Stores,  Inc.  (3) 

Eastman  Classroom   Films 
356  Madison  Ave.,  New  York  City 

Erpi  Classroom  Films,  Inc.  (2,  5) 

1841  Broadway,  New  York  City 

(See  advertisement  on  page  150) 

Father  Hubbard  Educational  Films  (2) 
188  W.  Randolph  St.,   Chicago 
Santa  Clara,  Calif. 

(See  advertisement  on  page  150) 

Films,   Inc.  (i) 

330  W.  42nd  St.,  New  York   City 

64  E.  Lake  St..  Chicago 

314  S.  W.  Ninth  Ave.,  Portland,  Ore. 

General  Films,  Ltd.  (3,  6) 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  4Sth  St.,  New  York  City 

(See  advertisement  on  page  144) 

Harvard  Film  Service  (3,  6) 

Basement — Germanic  Museum 
Frisbie  PI.,  Cambridge,  Mass. 

Ho&berg  Productions,  Inc.  (2,3) 

1600  Broadway,  New  York  City 

(See  advertisement  on  page  150) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  HI. 

(See  advertisement  on  page  147) 


Knowledge  Builders  Classroom   Films 
35  W.  45th  St.,  New  York  City  (2,  5) 

Nu-Art  Films,  Inc.  (3,  6) 

145  W.  4Sth  St.,  New  York  City 

(See  advertisement  on  page  144) 

Post  Pictures  Corp.  (3) 

723  Seventh  Ave.,  New  York  City 

(See  advertisement  on  page  144) 

The  Princeton  Film  Center  (2) 

106  Stockton  St.,  Princeton,  N.  J. 

Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd.,  St.  Louis,  Mo. 
(See  advertisement  on  page  150) 

Texas  Visual  Education  Co.  (3) 

305    West    10th   St.,    Austin,   Tex. 

Universal  Pictures  Co.,  Inc.  (5) 

Rockefeller  Center,  New  York  City 

(See  advertisement  on  page  151) 

Vocational  GuidaWTe  Films.  Inc.        (2) 

2718  Beaver  Ave.,  Des  Moines,  la. 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 

918  Chestnut  St..  Philadelphia.  Pa. 

Y.M.C.A.  Motion  Picture  Bureau       (3) 

347  Madison  Ave.,  New  York  Citv 
19  S.  LaSalle  St.,  Chicago 
351  Turk  St.,  San  Francisco.  Cal. 
1700  Patterson  Ave.,  Dallas,  Tex. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The   Ampro    Corporation  (3) 

2839  N.  Western  Ave..  Chicasro 
(See  advertisement  on  page  155) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave..  Chicago 
(See  advertisement  on  page  125) 

DeVry  Corporation  (3,  6) 

1111    Armitage  Ave.,   Chicago 

(See  advertisement  on  page  122) 

Eastman  Kodak  Stores,  Inc.  (3) 

Koda=copc   Lil)raries 

356  Madison  Ave.,  New  York  City 

General  Films,  Ltd.  (3,  6) 

1924   Rose    St.,   Regina,   Sask. 
156  King  St.,  W.  Toronto 

Ideal  Pictures  Corp.  (3,  6) 

28   K.   Eighth   St..   Chicago 

(See  advertisement  on   page  147) 

RCA   Manufacturing   Co.,   Inc.        (2) 

Educational  Dept.,  Camden,  N.  J. 

(See  advertisement  on  page  143) 

S.  O.  S.  Cinema  Supply  Corp.  (3,  6) 

449  W.  42nd  St.,  New  York  City 

Texas   Visual   Education   Co..  (3) 

305  West  10th  St.,  Austin,  Tex. 

Victor  Animatograph  Corp.  (3) 

Davenport,   Iowa 

(See  advertisement  on  page  141) 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago,  III. 

(See  advertisement   on   outside  back   cover) 

Williams,  Brown  and  Earle,  Inc. 

918    Chestnut    St.,   Philadelphia,    Pa. 


KODACHROME  SLIDES  (2x2) 

C.  Edward  Graves 

V.  O,   Bo.x  37,  Areata.  Calif. 
Klein   &   Goodman 

18  S.  10th  St..  Philadelphia,  Pa. 
Society  for  Visual  Education,  Inc. 

100   E.   Ohio   St.,   Chicago,    111. 

(See  advertisement  on   outside  back    cover) 

SLIDEFILMS 

The  Jam  Handy  Organization 

2900   E.  C;rand   Blvd..  Detroit.   Mich. 
(See  advertisement  on  page  145) 

Society  for  Visual  Education.  Inc. 

100  E.  Ohio  St..  Chicago.   111. 

(See  advertisement  on  outside  bac1<  cover) 

Visual   Sciences 

Suffern.    New    York 

(See  advertisement  on  page  150) 

Williams,  Brown  and  Earle    Inc. 

918  Che.stnut  St.,  Philadelphia,  Pa. 

STANDARD  SLIDES  (3'/4x4) 

Ideal  Pictures  Corp. 

28  E.   Eighth  St.,  Chicago,   III. 

(See  advertisement  on  page  147) 

Keystone  View  Co. 

.Meadville,  Pa. 

(See  advertisement  on  page  124) 

Radio-Mat  Slide  Co.,  Inc. 
222  Oakridge   Blvd. 
Daytona  Beach,  Fla. 

(See  advertisement  on  page  151) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,   N.   Y. 

(See  advertisement   on    inside   baclt    cover j 

DeVry  Corporation 

nil  Armitage  Ave.,  Chicago 

(See  advertisement  on  page  122) 

General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Keystone  View  Co. 

Meadville,   Pa. 

(See  advertisement  on  page  124) 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St.,  Chicago,  111. 
(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See   advertisement  on    inside   front  cover) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 

IS 

mm 

silent. 

(2) 

indicates 

16 

mm 

sound. 

(3) 

indicates 
silent. 

16 

mm 

sound  and 

(4) 

indicates 

33 

mm 

silent. 

(5) 

indicates 

35 

mm 

sound. 

(«) 

indicates 
silent. 

3S 

mm 

sound  and 

Confinuous  insertions  under  one  heading,  $2.00  per  issue;  additional  listings  under  other  headings,  $1.00  each. 


EDUCATIONAL 

SCR 


HE   MAGAZINE    DEVOTED   TO   AUDIO-VISUAL  AIDS   IN   EDUCATION 


reach ers  Library 


•5j^  a  copy      $2.00  PER  YEAR 


MAY,    1943 


Motion  Picture  Equipment 

Victor  Cameras  and  Projectors 
are  favorites  the  world  over, 
because  only  the  finest  picture 
and  sound  quality  can  be  toler- 
ated in  today's  vital  teaching, 
combat  training  and  entertain- 
ment programs.  Their  profes- 
sionally perfect  performance 
makes  them  the  faithful  servant 
to  millions  in  War  or  Peace. 


!rea!wjr»ti3taii^'  cfAi  n 


VICTOR  ANIMATOGRAPrtRPORATION 

^  W.  55th  St.,  New  York  •  188  W.  Randolph,  Chicago  •  Davenport,  Iowa 

nic4rihiifnr<    Thrnuahout    ih»    World 


The  EDUCATIONAL  SCREEN 


THE  EDUCATIONAL  SCREEN 
Staff 

Nelson  L.  Greene  -  -  -  Editor-in-Chief 
Evelyn  J.  Baker  -  Advertising  Manager 
Josephine  Hoffman     -    -    Office  Manager 

Department   Editors 
John  E.  Dugan    -    Haddon  Heights,  N.  J. 
Donald  A.  Eldridce    -     New  Haven,  Conn. 
WiLBER    Emmert     -     -     -    -     Indiana    Pa. 
Hardy   R.   Finch     -    -    Greenwich,   Conn. 

Ann  Gale Chicago,   111. 

David  Goodman     -    -    New  York,  N.  Y. 


Josephine  Hoffman 
L.  C.  Larson  -  - 
F.  Dean  McClusky 
Etta  Schneider    - 


-    -     Chicago,  111. 

Bloomington,  Ind. 
Scarborough.  N.  Y. 
New   York.   N.  Y. 


Editorial  Adyisory  Board 

Ward  C.  Bowen,  Chief,  Bureau  of  Radio 
and  Visual  Aids,  State  Education  De- 
partment, Albany,   N.  Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools,  San  Diego. 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  E.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division,  Uni- 
versity of  Wisconsin,  Madison,  Wis. 

J.  A.  Hollinger,  formerly  Director,  Depart- 
ment of  Science  and  Visualization,  Pub- 
lic Schools,   Pittsburgh,  Pa. 

BovD  B.  Rakestraw,  Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia, Berkeley,  Calif. 

Paul  C.  Reed,  Head,  Educational  Division, 
Bureau  of  Motion  Pictures,  Office  of 
War  Information,  Washington,  D.  C. 

W.  Gayle  Starnes,  in  charge  of  Audio- 
Visual  Aids,  Department  of  University 
Extension,  University  of  Kentucky, 
Lexington,    Ky. 

Lelia  Trolinger,  Secretary,  Bureau  of 
Visual  Instruction.  Extension  Division, 
University  of  Colorado,   Boulder,  Cole. 

W.  W.  Whittinchill.  Director,  Depart- 
ment of  Visual  and  Radio  Education. 
Board  of  Education,  Detroit,   Mich. 


VOLUME  XXII  MAY.  1943 


NUMBER  FIVE 
WHOLE  NUMBER  212 


Contents 


Cover  Pict\ire — Mon+icello,  Home  of  Thomas  Jefferson 

(Courtesy  Virginia  Conservation  Comnnission.) 

The  War  Against  War  Movies Harold   Putnam      162 

Sysfemafic  Planning  and  Managemsnf  of  a  Senior  High 

School  Film  Program Robert  Collier,  Jr.      164 

Color  in  the  English  Class Adalbert  M.  Jakeman      168 

The  F'lm  and  International 

Understanding Edited    by   John    E.    Dugan      169 

Motion  Pictures — Not  for  Theatres  Arthur  Edwin   Krows      170 

The  Literature  in  Visual  Instruction 

A  Monthly  Digest ..Conducted  by  Etta  Schneider      173 


Social  Changes  in  the  Air  Aqe 
In  Hand-Made  Lantern  Slides 


Ann  Gale      174 


The  Department  of  Visual  Instruction  175- 

Summer  Courses  in  Visual  and  Audio-Visual  Instruction,  1943 175 

School-Made  Motion  Pictures Conducted  by  Hardy  R.  Finch  176 

Experimental  Research   in  Audio-Visual 

Education Conducted    by    David   Goodman  178 

News  and  Notes    .  Conducted  by  Josephine  Hoffman  180 

Current  Film  News 184 

Among  the   Producers 188 

Here  They  Are!  A  Trade  Directory  for  the  Visual  Field. 192 


SUBSCRIPTION  PRICE 

Domestic  $2.00 

Canada  $2.50 

Foreign    „ $3.00 

Single  Copies 25 


The  EDUCATIONAL  SCREEN  published  monthly  except  July  end  August  by  The 
Educational  Screen,  Inc.     Publication  OfRce,  Pontiac,  Illinois;  Executive  Office,  64 
East  Lake  St.,  Chicago,  Illinois.     Entered  at  the  Post  OfFice  at  Pontiac,  lllinoli,  as 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lake  St.,  Chicago,  III. 


Page    160 


The  Educational  Screen 


Scene  is  one  of  the  Curtiss-Wright  Airplane  Dirinon  ciasiroomi  for  training  U.  S.  Army  ground  crews. 


isual  Training  dons  olive  drab 


How  to  take  a  fighting  plane  apart 
and  put  it  together  again— how  to 
■'keep  'em  flying"— how  to  combat 
enemy  tactics — how  to  win  this  war 
quickly — is  the  problem! 

Speed  in  imparting  a  clear  under- 
standing to  millions  of  fighting  men — 
millions  of  civilian  defense  workers — 
is  attained  best  by  projection  methods. 
Dramatically,  they  magnify  and  pro- 
ject charts,  drawings,  photographs  and 
detailed  close-ups.  The  student  can  re- 
tain the  graphic  picture  better  than  the 


words  of  the  instructor.  Seeing  becomes 
knowing  how.  Knowing  how  is  the 
answer! 


Spencer 

1  BUFFALO. 


LENS  COMPANY 
BUFFALO,  NEW  YORK 

SCIENTIFIC  INSTRUMENT  DIVISION  OF 

AMERICAN   OPTICAL  COMPANY 


May,  1943 


Page   161 


MOVIES    ARE     EAGERLY    AWAITED 


at  our  far  distant  outposts 


riio  roar  of  a  huge  I  .  S.  Patrol  l)onil»er 
ploughing  to  a  stop  in  the  harbor  is 
always  welcome  music  to  American 
fighters  at  faraway  bases.  Among 
other  things,  it  means  mail  from  home 
and  a  fresh  supply  of  the  latest  motion 
picttire  releases! 

Kvery  inch  of  space  in  our  vast  fleet 
of  cargo  planes  is  precious — is  urgently 
needed  for  transporting  vital  medical 
supplies  and  important  war  materials. 
Still  our  government  considers  motion 
pictures  so  valuable  to  the  mainte- 
nance of  high  morale  in  the  U.  S. 
armed  forces  that  the  latest  films,  in 
16mm.  versions,  are  classed  as  a 
"must"  for  our  wartime  skyway 
freight  lines. 

Thousands  of  Ampro  projectors  are 
being  utilized  in  a  vast  16mm.  motion 


picture  program  for  training  and  en- 
terlainiiig  I  nited  Nation  soldiers  on 
both  lighting  and  production  fronts. 
Still  more  projectors  are  needed!  Pri- 
vate owners  of  16mni.  projectors  are 
urged  to  contact  Civilian  Defense  au- 
thorilies  in  their  icx'al  communities 
and  enlist  llieir  ma<-hines  in  this  vital 
w  artime  program. 

]00%  of  Ampro  facilities  are  en- 
gaged in  the  pr<Mluction  of  [)rojector8 
and  precision  war  equipment  for  the 
I  nited  Nations.  Ampro  engineering 
research  continues  unditninished — as- 
suring civilian  Jisers  more  efficient 
projectors  than  ever  wlien  tlie  war  is 
over.  Inthemeantiri'.eyoucanplanfor 
the  future  bv  keeping  up »  ith  the  new- 
est developments  in  1 6nnn.  projectors. 
W  rite  today  for  latest  Ampro  Catalog! 


The  above  dual  unit  Ampro- 
sounds  ore  typical  of  those  used 
in  "special  services"  overseas 


The  Ampro  Corporation,  2837  N.  Western  Ave.,  Chicago,  111. 

>  AM  FRO* 

PRECISION  CINE  EQUIPMENT 


Page    162 


The  Educational  Screen 


The  War  Against  War  Movies 


Here  is  a  ringing  appeal  to  thinking  Americans  to 
act!  It  should  start  an  avalanche  of  letters  to 
Congressmen,  even  from  readers  who  never 
wrote    before.    Write    your    Congressman    now! 

HAROLD    PUTNAM 

Editor,  Victory  Forum 
Boston  Globe,  Boston,  I4ass. 


t; 


Scenes   from   three    OWI   film   releases:   "Manpower"    (top), 
"Home  on  the  Range"(center),"Divide  and  Conquer" (bottom) 


iHli  war  against  government  movies  is  on.  The 
Lamjmign  threatens  the  prosecution  of  a  democratic 
peace  and  the  building  of  a  durable  peace. 

Under  the  leadership  of  Elmer  Davis  and  Xelson 
Rockefeller,  the  Office  of  War  Information  and  the 
Office  of  Inter-.\merican  .\fifairs  have  been  utilizing 
movies  to  show  the  American  people  what's  going  on  in 
the  war  and  to  show  them  the  iniportance  of  internation- 
al co-operation — in  the  war  and  in  the  peace !  No 
other  government  agencies  have  used  the  medium  of 
motion  pictures  so  widely  and  so  effectively.  Xo  other 
government  agencies  have  surpassed  the  work  of  Davis 
and  Rockefeller  in  getting  the  truth  across  by  the 
silver  screen. 

But  they've  circumnavigated  traditional  censorships. 
They've  stepped  on  the  toes  of  a  few  loud-mouthed 
Congressmen.  They're  wide  open  for  below-the-belt 
attacks  of  demagogues — who  don't  want  government 
information  programs  to  be  too  effective.  The  threat- 
ened result  is  chaos  in  the  government's  information 
plans  and  the  end  of  government  movies. 

The  program  comniitee  of  the  Needham,  Mass.. 
Forum  foresaw  this  possibility  months  ago.  It  didn't 
take  much  foresight  to  perceive  that  a  Congress,  which 
could  get  overheated  when  the  Trea.sury  Department 
utilized  Walt  Disney's  genius,  would  almost  certainly 
start  boiling  over  at  a  succession  of  government  war 
movies.  We  planned  our  program  in  January.  Con- 
gress began  exploding  in  February.  We  showed  our 
movies  in  March.  We  showed  them  to  build  public 
support  in  our  community  for  what  we  regarded  as  an 
essential  information  service  in  a  war  of  ideas.  W'e 
hoped  that  other  communities  across  the  nation  would 
see  these  movies  in  time — would  see  them  and  support 
them  before  their  Congressman  ])articipated  in  plans 
to  sabotage  the  whole  program. 

Whenever  government  movies  have  been  mentioned, 
a  few  have  shied  at  "government  propaganda"  or  have 
called  it  "New  Deal  stuff."  But  they've  stayed  to  see 
some  of  the  best  movies  of  the  war.  some  of  the  most 
thoughtful  film  treatments  of  the  burning  issues  of  a 
world  in  flames — and  they've  gone  out  from  movie 
evenings  convinced  supporters  of  "Films  for  \'ictory." 
But  not  enough  peo])le  are  seeing  the  movies.  Our 
Regional  Director  of  the  Office  of  War  Information 
tells  me  he  has  several  crack  pictures  "gathering  dust" 
in  his  office — because  organizations  haven't  heard  of 
these  movies.  I  su.spect  it  is  because  they  don't  know 
how  ine.xpensive  an  evening  of  war  movies  can  be.  And 
because  they  don't  appreciate  the  dangers  involved  in  the 
campaign  to  eliminate  all  government  war  movies. 

My  hope  is  that  this  program  will  get  rolling.  That 
enough  people  will  see  these  movies  to  realize  how  es- 


May,  194} 


Page   163 


War    Chemistry    class 
at  Howard  University, 

Washington,    D.    C. 

From   the   OWI    film, 

"Negro     Colleges     in 

Wartime." 


sential  they  are  to  morale,  to  victory  and  to  democracy. 
This  is  a  race  against  time.  A  race  to  see  which  hap- 
jjens  first:  whether  a  majority  of  the  American  people 
see  and  support  these  movies  or  whether  a  majority  of 
"ur  Congressmen  vote  down  this  particular  appropria- 
tion for  the  Office  of  War  Inforn^ation  and  the  Office  of 
Inter-American  Affairs. 

And  time  is  iniiwrtant  in  this  war — just  as  important 
as  the  flashing  minutes  on  a  hattlefield.  In  March  a 
handful  of  reactionary  Congressmen  opened  fire  on  a 
few  government  pam|)hlets,  published  by  0\\^I.  One 
of  these  revealed  to  foreign  nations  that  a  man  named 
Roosevelt  is  our  President  and  that  he  has  had  an  en- 
gaging personal  history.  Another  one  chronicled  in 
detail  the  Nazi  method  of  destroying  a  modern  city. 
.\nother  pointed  out  the  dangers  of  Hitler's  divide  and 
conquer  technique.  No-one  asked  the  American  people 
if  they  liked  those  pamphlets.  No-one  consulted 
authorities  on  psychological  warfare  to  find  out  how 
etTective  they  might  be.  But  a  few  weeks  later  14  able 
writers  resigned  from  the  Office  of  War  Information, 
because  production  of  such  pamphlets  has  been  cur- 
tailed. OWI  could  not  stand  the  one-way  fire.  With- 
out vocal  support  for  such  pamphlets,  Elmer  Davis  had 
to  back  down  on  that  program. 

Exactly,  the  same  thing  can  and  will  happen  with  war 
movies.  It  can  be  achieved  by  the  storm-trooper  tactics 
of  a  liandful  of  Congressmen.  Uninhibited  by  the  laws 
of  libel,  they  can  paint  a  black  enough  picture  to  con- 
vince a  majority  of  fence-straddling  Congressmen — 
who  haven't  heard  much  about  this  from  the  folks  back 
home.     That's  the  daiiger  ! 

.Mready  this  pressure  has  forced  the  Office  of  War 
Information  to  promise  hereafter  to  channel  its  infor- 
mation through  the  regular  mediums — newspapers, 
radio  stations  and  magazines.  .\nd  in  that  direction 
lies  chaos.  Chaos,  because  public  opinion  cannot  be 
marshalled  for  rationing  programs  through  newspapers. 


if  the  papers  have  been  viciously  campaigning  against 
the  whole  business.  In  Boston.  OWI  has  had  the  sad 
experience  of  seeing  its  factual  releases  ground  u])  be- 
yond recognition  by  a  few  newspapers  more  interested 
in  discrediting  \\'ashington  than  in  making  the  pro- 
grams work.  The  same  goes  for  many  radio  stations 
and  many  magazines.  A  few  papers  should  be  deco- 
rated for  their  contriI)utions  to  wartime  morale,  for 
truthful  presentation  of  government  information.  But 
the  rest  have  achieved  no  reputation  that  deserves 
OWrS  latest  move.  If  all  government  information  is 
to  be  channelled  through  newspapers,  radio  stations 
and  magazines — if  all  our  eggs  are  to  be  placed  in  those 
baskets,  we  ought  to  expect  an  omelet  of  misinforma- 
tion. And  that  won't  help  win  the  war.  and  it  will  make 
inevitable  the  losing  of  the  peace. 

It's  not  strange  to  riie  that  this  storm  should  develop 
over  government  publications  and  movies — esjiecially 
movies.  After  experience  in  both  newspaper  and  radio 
work  and  in  showing  war  movies,  I'm  convinced  that 
movies  are  the  most  effective  medium  for  changing 
peoples'  minds.  Hitler  was  convinced  of  that  when  he 
filmed  his  blitzes  and  then  used  the  movies  to  soften  up 
his  next  victims.  Fascist-minded  persons  in  our  own 
country  are  convinced  of  the  same  thing — so  they  fear 
our  government  entering  the  same  field :  to  show  up 
fascism,  to  get  across  the  challenge  of  democracy,  to 
beat  Hitler  at  the  vital  game  of  converting  people  to  a 
cause. 

This  is  a  war  of  ideas  and  movies  are  the  most  ef- 
fective medium  of  thrusting  the.se  democratic  ideas  into 
anxious  minds,  spreading  the  ferment  of  the  fight  for 
freedom.  And  so  the  battle  wages.  For  ll'hoiit  the 
Bell  Tolls  has  been  completed  and  is  being  held  up  by 
Washington,  until  our  State  Department  decides  iust 
how  far  we  should  go  in  the  dirty  business  of  appeasing 
Hitler's    satellites.      Mission    to    Mosco7i'  has    had   its 

(Concluded  on  page  175) 


Page    164 


The  Educational  Screen 


A    scene    from    "Stephen   Foster." 

Courtesy  of  Walter  O.  Gutlohn.  Inc. 


From  the  United  Artists  feature,  "The  Count  of  Monte  Cristo." 


A  concise  but  comprehensive  account 
which  covers  various  administrative 
problems  of  an  extensive  fihn  pro- 
gram   throughout    the    school    year. 

(All  accoinpaiiyiiui  illustrations  are 
from    films    used    at    South   High) 


Systemdtic  Planning  and  Management 
of  a  Senior  High  School  Film  Program 


ROBERT    COLLIER,    JR. 

Director  Visual  Instruction 

South  High  School,  Denver,  Colorado 

THE  development  of  the  use  of  motion  pictures  at 
South  High  School  started  back  in  the  days  of  the 
silent  35mm  film.  Since  that  time,  we  have  seen  a 
continual  growth  in  the  understanding  and  use  of  motion 
picture  films  in  the  classroom.  To  finance  the  work 
has  always  been  the  most  difficult  question.  Until  two 
years  ago.  the  .school  administration  gave  us  no  assist- 
ance either  in  the  ])urchase  of  equipment  or  in  the  sup- 
plying of  films  for  school  use. 

The  Movie  Club 

Six  years  ago,  through  the  interest  of  Mr.  John  J. 
Cory,  a  "Travel  CIuIj"  was  started  at  South  High 
School,  primarily  to  raise  the  neces.sary  money  to  supply 
films  for  the  entire  school  and  purchase  equipment  for 
showing  them.  This  was  done  by  charging  semester 
dues  of  25  cents  per  person.  The  films  which  were 
shown  to  the  Travel  Club  were  primarily  of  educational 
nature,  Mr.  Cory  feeling  at  that  time  that  we  were  not 
warranted  in  the  use  of  school  time  for  the  purpose  of 
showing  comedies,  cartoons,  and  other  films  of  purely 
recreational  type.  When  Mr.  Holm  became  principal 
of  South,  the  name  of  the  Travel  Club  was  changed  to 
the  Movie  Club,  and  the  policy  of  the  club  changed  to 
permit  the  showing  once  every  two  weeks  of  purely 
entertainment  type  films.  In  addition,  once  each  se- 
mester a  feature  film  requiring  about  two  hours  for 
showing  was  run.  These  feature  films  included  Mad 
About  Music,  The  Count  of  Monte  Cristo.  The  Covered 
Wagon.  The  President  Vanishes,  and  The  Maid  oj 
Salem. 

At  present  the  revenue  from  the  sale  of  Movie  Club 


memberships  provides  the  entire  school  with  motion 
pictures.  The  revenue  for  two  vears  was:  school  vear 
1940-41.  $1068.75;  1941-1942.  $1022.39. 

The  loss  in  revenue  in  1941-42  was  due  to  the  federal 
tax  on  admissions.  From  these  funds  all  films  for  the 
Movie  Club  are  provided  and  in  addition,  about  one 
thousand  film  titles  for  use  in  the  various  departments 
in  the  school  are  secured. 

Equipment 

Besides  furnishing  the  school  with  all  of  the  films 
used  during  the  year,  this  money  has  largely  purchased 
the  following  equipment :  1  silent  16  mm  projector,  3 
sound  16mm  classroom  projectors.  1  sound  16mm  fil- 
mo-arc  auditorium  projector,    1    orchestricon   speaker. 

1  combination  transcription  player  for  33  and  78  RPM 
records.  2  filmstrip  projectors,  3  lantern  slide  projectors. 

2  opaque  projectors,  1  microphone  for  use  with  sound 
equipment,  2  35mm  silent  projectors  (usable  but  not 
u.sed ) . 

Since  the  start  of  the  Movie  Club.  South  High  School 
has  spent  over  three  thousand  dollars  for  visual  equip- 
ment. Some  of  this  money  has  been  furnished  by  the 
Athletic,  General  Education,  and  Incidental  Funds,  but 
the  bulk  has  come  from  the  Movie  Club.  At  the  present 
time  the  requests  for  films  have  become  so  heavy  that 
the  Movie  Club  money  is  all  needed  simply  to  supply 
films  and  cannot  be  used  for  the  purchase  or  repair  of 
equipment. 

Operators 

To  handle  this  eciuipment  a  staff  of  about  25  volun- 
teer students  is  used.  These  boys  after  a  period  of 
training  devote  one  to  two  periods  per  day  to  care  for 
and  operate  this  equipment.  Only  reliable  boys  who 
are  good  students  are  cho.sen  for  this  work  and  wiien 
advantage  is  taken  of  these  privileges  the  students  are 


May,   194} 


Page    165 


returned  to  their  study  hall.    For  this  service  scholastic 
credit  is  given  the  same  as  for  an  unprepared  subject. 

Film  Bookings 

Films  are  secured  from  all  over  the  United  States  to 
meet  the  requests  of  the  teachers  in  the  various  depart- 
ments. Any  teacher  may  request  a  film  for  any  par- 
ticular time  in  the  semester.  The.se  films  are  chosen 
from  a  complete  file  of  catalogues  and  listings  in  current 
literature  released  by  various  film  sources.  Films  are 
hooked  from  six  to  nine  months  in  advance  of  showing. 
\\  hen  a  film  is  selected  we  attempt  to  book  this  film 
from  the  nearest  source  and  from  companies  which  give 
us  excellent  service. 

I'^ilms  are  requested  by  the  teachers  for  a  certain  day 
in  the  week.  We  attempt  to  arrange  certain  week  days 
for  film  showings  in  the  various  d';partments.  For  e.x- 
ampie.  Music  and  Auto  Mechanics  films  are  generally 
booked  for  Monday.  General  Education,  Homemaking. 
and  Food  films  are  shown  on  Tues<lay.  Chemistry, 
Physical  Education  and  Geology  ])ictures  use  Wednes- 
day. t)n  Thursday  we  find  the  .-\merican  History  and 
Spanisii  films  being  shown,  while  Friday  generally  finds 
the  enuipnient  in  use  in  the  Biology  Department.     In 


r 

Courtesy    of    Walter    O.    Gutlohn.    Inc. 

Pottery  making   in   "Workshops   of   Old   Mexico." 

this  way  we  secure  a  distribution  of  showings  through 
the  entire  week,  thus  keeping  the  available  equipment 
in  constant  use.  Because  of  this  con.stant  use  of  the 
equipn>ent  throughout  the  school  on  various  days  it  is 
imperative  that  films  arrive  for  use  on  the  dates 
scheduled.  Occasionally  films  are  delayed,  which  makes 
it  impossible  to  run  all  films  on  the  dates  selected.  Be- 
cause of  the  heavy  demand  on  equipment  teachers  can- 
not change  dates  without  disrupting  the  entire  film 
schedule. 

Bulletins 
Each  week  throughout  the  semester  a  bulletin  is 
placed  in  the  box  of  every  teacher  showing  what  films 
are  ex])ected  during  the  week.  This  bulletin  gives  a 
brief  description  of  the  film,  indicates  the  length  and  the 
deiJartment  reque.sting  the  picture.  In  this  way  all 
teachers  in  the  building  are  informed  of  filins  so  that 
those  who  are  teaching  subjects  closely  related  may  take 
advantage  of  films  ordered  by  other  departments.  This 
results  occa.sionally  in  .students  seeing  films  in  more 
than  one  department,  a  decidedly  toieficial  repetition 
in  the  case  of  worthwhile  films.  When  films  are  de- 
sired in  more  than  one  department  the  department  re- 
([uesting  the  film  first  is  given  preference.     The  other 


teachers  must  take  the  film  when  it  can  be  made  avail- 
able to  them  or  make  arrangements  with  the  department 
requesting  the  film  to  permit  their  students  to  join  the 
first  class.  Two  of  the  weekly  bulletins  are  reprinted 
here : 

MOTION   PICTURE  HIGHLIGHTS 
Week  of  September  22 — 26 

The   following  n:otioii   picture   filins  will  bo  in   the  build- 
ing   duriii}-    the    week    of    September    22 — 26.    These    filnis 
are    secured    primarily    for    the    department    as    indicated. 
Should   ycu   desire    the    use    of   any    of   these    films,   please 
make  arrangements  with   Mr.  Collier,  in   room   317. 
Monday.  Scfil.  22 
General  Ed.  "America — Yesterday  and    Today."     .A  screen 
editorial  showing  how  the  priniiti\c  hand  labor  of  yesterday 
has   been    transformed   into   the    machine    industry  of   today. 
"The  .American  Way".  The  case  for  the  prevailing  economic 
and  social  order  forcefully  narrated. 
"The    Right    of    Work."    Sequel    to    "The    American    Way" 
dealing  mainly   with  lalxjr  relations. 
Tuesday,  Sept.  23 
Movie   Club  "Village   School,"  "Zapotican   Potters,"   "Britain 
on  Guard,"  "Calling  all  Crooners." 

Physical    Ed.    "Forward    Pass."    Featuring    outstanding    foot- 
ball coaches. 
Drawing  and  Engineering  "Shop  Work." 

Wednesday,  Sept.  24 
Metal  Work  "Boulder   Dam."   Construction  of  Boulder   Dam 

from  the  beginning. 
Spanish   and    General    Ed.    "Wings    Over   the    .Andes."      One 

of  the  most  interesting  of  exploration  i)ictures.   Photographs 

the  "Great  Wall  of  Peru,"  and  the  "Valley  of  Volcanoes." 
Home   Making   and   General    Ed.   "A    Criminal    is   Born."    A 

dramatization  of   four   boys   who,   when    their   parents    show 

insufficient  interest  in  them,  turn  to  crime. 
Thursday,  Sept.  25 

Vocations    "It's    the    Little    Things    That   Count."    Salesman- 
ship. 
Biology  "Hydrozoa,"  "Protozoa,"  "Beach  and  .Sea  .Animals." 
.American  Hist.   "Sons  of   Liberty."  Tells  of  Haym   Solomon 

and  Nathan  Hale. 
Friday,  Sept.  26 
Chemistry  "A  New   World   Through   Chemistry." 
Biology  "Microscopic  .Animal  Life."  Photomicrographic  views 

show  four  single  celled  animals. 
"Studies  in  Micro-Biology." 
"Aquarium   in  a  Wine   Glass."   When   a  tuft  of   hay   is  put 

in  a  wine  glass  filled  with  pond  or  tap  water  a  ready-made 

aquarium   is  created. 


Making   sandstone  blocks — from   the   Eastman 
classroom  film,  "Sand  to  Clay." 


Page   166 


The  Educational  Screen 


Week  of  October  6-10 

Monday,  Oct.  6 

General  Ed.  "Middleton  Family."  Trip  to  New  York 
World's  Fair.  This  excellent  color  film  used  last  year. 

Biology    "Alimentary    Tract."    Demonstrates    motility    phen- 
omena of  the  gastro-intestinal  tract. 
Tuesday,  Oct.  7 

Movie  Club  "Mayaland  Today,"  "The  Big  City."  "Roy- 
hood  Memories,"  and  "All's   Fair." 

Auto  Mech.  "F'acts  behind  Performance."  The  various  oper- 
ations involved  in  raising  principal  farm  crops  form  the 
basis  for  showing  how  improved  farming  methods  have 
made  farm  life  more  profitable  and  more  attractive. 

Mech.  Drawing   "Testing  T-Sguare  and  Triangles." 
Wednesday,  Oct.  8 

General  Ed.  "Photography."  News  cameramen  present  some 
of  the  whys  and  hows  of  their  work. 

"How  Motion  Pictures  Move  and  Talk."  Background  of 
"motion"  so  clearly  shown  that  a  child  can  repeat  the 
demonstration. 

Thursday,  Oct.  9 

French  "Bits  of  Brittany."  Castles,  stone-walled  fields 
thatched  cottages,  megolith  fields,  fishing,  wood  carving, 
and  church  going. 

Music  "Walter  Damrosch."  Tlie  great  music  master  shows 
how  even  very  young  children  respond  to  the  beauty  of 
music  when  sympathetically  taught. 

American  Hist.  "Declaration  of  Independence."  The  picture 
opens  with  a  dramatic  foreword  to  the  eflfect  that  if 
American  Independence  had  failed  the  signers  of  the  Declar- 
ation of  Independence  would  be  signing  their  own  death 
warrants. 
Friday,  Oct.  10 

Chemistry  "The  Wonderful  World  of  Chemistry." 

Biology  "Digestion."  "Digestion  of  Foods."  Presents  such 
aspects  of  digestion  as  mastication,  swallowing  and 
glandular  activity. 

Classroom  Procedure 

When  the  weekly  bulletin  is  placed  in  the  hands  of 
the  teachers,  one  teacher  of  each  department  arranges 
the  periods  and  rooms  in  which  the  film  is  to  be  used. 


■  -^ 

*    .           ■ .  , »  *  •^^»,'. 

: _^ -^^"  •  ^ 'J 

Glass-blowing,  one  of  the  crafts  demonstrated  in  the 
Bell  and  Howell  reel,  "American  Handicrafts." 


A    frame   from    the   Erpi    film,    "Beach   and    Sea   Animals.' 

on  the  day  assigned.  This  film  schedule  is  placed  on  a 
weekly  operators  assignment  sheet  in  the  office  of  the 
teacher  in  charge  of  the  films.  The  teachers  of  the 
classes  who  expect  to  see  the  film  prepare  their  classes 
in  advance  telling  them  what  is  expected  from  each 
individual  who  sees  the  film.  Some  teachers  require 
written  reports  following  the  showing  of  the  film.  These 
reports  are  sometimes  supplemented  by  librarv  reading 
and  class  discussion.  Other  teachers  follow  the  show- 
ing with  a  short  test  covering  the  high  points  of  the 
fihn. 

\Mien  the  period  for  the  film  showing  arrives,  the 
operator  is  assigned  to  handle  the  equipment.  We  have 
three  small  carts  which  carry  the  necessary  black  shades, 
for  darkening  any  room  in  the  building,  the  motion 
picture  projector,  and  the  glass  bead  screen.  These  carts 
are  run  into  the  room,  and  the  black  shades  put  in  place 
over  the  usual  tan  shades.  This  is  made  possible  l)y 
small  hooks  placed  at  the  top  of  the  window  frame  in 
each  room  in  the  building.  The  machine  is  then  set  up 
and  the  film  shown.  Short  films  are  occasionally  run 
a  second  time.  Many  points  are  seen  by  the  students  on 
a  second  run  that  were  not  observed  the  first  time.  At 
the  finish  of  the  picture  if  no  further  films  are  to  be 
shown  in  that  room  later  in  the  day,  the  shades  are  taken 
down  and  equipment  returned  to  the  storage  room. 

Records 

After  each  film  is  shown,  the  operator  in  charge  lists 
the  number  of  classes,  approximate  number  of  students 
seeing  the  films,  and  the  number  of  reels  of  films  put 
through  the  projector.  These  records  are  then  totalled 
at  the  end  of  each  week  and  month  to  give  a  close  esti- 
mate of  the  number  of  students  seeing  the  pictures  and 
the  departments  using  the  various  films.  Some  films 
are  used  in  two  or  three  different  departments.  This 
is  particularly  noticeable  in  General  Education  with 
its  wide  variety  of  interests.  Some  films  are  restricted 
to  particular  departments  and  are  not  allowed  in  any 
other.  For  example,  films  on  pre-natal  care,  syphilis, 
and  child  care  are  used  only  in  Homemaking  classes. 
Film  records  give  us  an  estimate  as  to  the  cost  of  opera- 
tion of  the  projectors  and   the  life  of  the  projection 


May,  1943 


Page   167 


lamps.    Some  of  the  statistics  derived  from  these  records 
are  tabulated  here: 

Record  of  Number  of  Reels   Shown  in   1941-42 
(September  to  May) 


Reels 

Reels 

Subject 

Reels 

Atten 

dance 

Total 

Sound 

Silent 

Film 

For   As- 

Class 

.'\udi- 

Classes 

Film 

Film 

Strips 

sembly 

rooms 

torium 

Sep. 

183 

230 

35 

24 

6260 

4400 

Oct. 

342 

549 

59 

17 

70 

9120 

6640 

Nov. 

249 

394 

72 

46 

6535 

1791 

Dec. 

206 

353 

10 

100 

3633 

9885 

Jan. 

219 

279 

124 

28 

61 

6090 

5890 

Feb. 

306 

319 

88 

7 

75 

8460 

8655 

Mar. 

360 

612 

76 

90 

10301 

13,W5 

Apr. 

289 
2154 

216 
2952 

39 

503 

52 

61 

527 

8567 

10530 

58966 

61126 

Total  Audience 

120092 

Record  of  Number  of  Film  Subjects  Shown  in  1941-42 
(September  to  June) 

(Often  more  than  one  reel  to  a  subject) 

English 

American    Literature    (2),    Drama    (2),    Speech    (1), 
Library    (2),  Journalism    (5)  Total       12 

lAiii</ua(/e 

IVench  (9),  German  (1),  Spanish  (32)  Total       42 

>i'iiat  Science 

American  History  (57),  Modern  Europe  (4),  Psychol- 
ogy (2),  Social  Problems  (14),  World  Relations  (14) 

Total      91 

Miitliematics 
Geometry   (4),  Trigonometry  (4)  Total        8 

Science 

Biology    (79),   Botany    (9),   Chemistry    (37),  Geology 
(24),   Physics    (33),   Physiology    (18),  Zoology    (63) 

Total    263 

L  I'liimercial 
Bookkeeping   (7),  Salesmanship   (6),  Typewriting   (3) 

Total       16 

Home  Economics 

.^ppIicd  Economics   (39),  Clothing   (10),  Homemaking 
(39),  Foods  (17)  Total     105 

Industrial  Arts 
Auto    Shop    (38),   General    Metals    (39),    Mechanical 
Drawing    (20),   Wood   Shop    (20)  Total     117 

Music 

Voice  (26),  Instrument   (15)  Total      41 

Art 

Art,  (25),  Drawing  and  Painting  (7)  Total      32 

l'h\sicat  Education 

Boys  Gym  (18),  Girls  Gym  (5),  Health  (4),  R.O.T.C. 

(6),   Sports   (10)  Total      43 

General  Education 

Geography  (12),  Alcohol  (1),  General  Education  (104) 

Total     117 

Vocations 

Coast  Guard  (1),  Navy  (3),  Miscellaneous  (19)  Total  23 
Movie  Club 

Entertainment    (30),  Instructional   (31)  Total       61 

Total    Film    Subjects    booked  645 

Total  Subject  Use  in  Correlation  with  Departments  971 

Miscellaneous  Use 

The  equipment  is  widely  used  throughout  the  build- 
ing in  situations  other  than  film  showings.  Music  for 
the  social  hours  held  in  the  gymnasium  is  furnished  by 
connecting  the  transcription  player  with  various  speak- 
ers of  the  moving  picture  equipment.  Meetings  held 
in  the  lunch  room,  gymnasium,  and  outside  the  build- 


ing have  used  the  equipment  as  a  public  address  system. 
As  an  example,  the  graduation  exercises  in  the  city 
auditorium  makes  use  of  the  public  address  system  to 
line  up  the  graduating  seniors.  The  square  dance  club 
uses  the  equipment  each  week  to  amplify  both  calls  and 
music. 

The  transcription  player  is  finding  considerable  use 
with  recordings  made  from  outstanding  radio  broad- 
casts. The  music  department  uses  this  same  equipment 
to  reproduce  the  annual  music  competition  for  the  bene- 
fit of  the  boys  and  girls  who  play  in  the  orchestra. 

We  own  36  film  strips  portraying  various  occupa- 
tions. These  have  been  shown  quite  widely  in  General 
Education  courses.  The  black  shades  and  screen  are 
used,  and  the  operators  handle  this  equipment  in  the 
same  way  that  they  do  the  motion  picture  film. 

Summary 

The  use  of  motion  pictures  and  the  other  audio- 
visual aids  which  we  have  at  South  High  School  are 
finding  constantly  increasing  use.  This  year  325  film 
subjects  were  requested  for  the  semester  commencing 
September  9,  1943.  These  requests  came  from  practi- 
cally every  department  in  the  building.  Teachers  are 
making  better  use  of  films  and  are  learning  rapidly  to 
select  the  type  of  film  which  is  best  adapted  to  their 
course  of  study.  In  a  school  the  size  of  South,  soine 
conflicts  are  unavoidable.  We  do  not  have  sufficient 
equipment  nor  are  the  films  in  the  fjuilding  long  enough 
to  permit  the  ideal  use  of  films  in  single  classrooms. 
However,  we  are  finding  more  and  better  films  with 
more  and  better  use  by  increasing  numbers  of  teachers. 


Midwest  Forum  in  July 

The  Fifth  Annual  Meeting  of  The  Midwest 
Forum  on  Visual  Teaching  Aids  will  convene 
this  year  as  usual,  but  time  and  place  have  been 
chosen  to  conform  with  the  exigencies  of  war- 
time. To  avoid  transportation  difficulties,  the 
Forum  will  be  held  in  conjunction  with  the  Sum- 
mer Schools  of  the  University  of  Chicago  on  July 
23-24  (Friday  evening  and  all  day  Saturday), 
when  a  district  conference  of  school  administra- 
tors is  also  in  session  on  the  campus.  The  program 
will  be  presented  in  Belfield  Hall  Auditorium, 
and  the  Exhibits  will  occupy  the  entire  Boys' 
Gym  conveniently  nearby.  With  so  large  a  body 
of  teachers  and  school  executives  already  as- 
sembled on  the  campus,  and  summer  school  at- 
tendance l)eing  at  its  maximum  on  the  dates 
named,  ample  audiences  for  the  Midwest  Forum 
may  be  confidently  expected. 

William  C.  Reavis,  of  the  University  of  Chi- 
cago, School  of  Education,  is  General  Chairman 
of  the  Forum  again  this  year.  William  F.  Kruse, 
of  Bell  &  Howell  Company,  is  Chairman  of  the 
exhibit  arrangements. 

The  full  program  of  this  Fifth  Annual  Midwest 
Foruin  will  be  given  in  our  next  (June)  issue, 
well  over  a  month  in  advance  of  the  meeting. 


Page   168 


The  Educational  Screen 


Color  in  the  English  Class 


FROM  a  projection  point  of  view,  the  field  of  vis- 
ual aids  for  high  school  English  has  been  rather 
limited  to  date.  Devices  for  drill  aspects  of  the 
subject  are  practically  unknown.  There  are  only  slight 
possibilities  in  the  idea  of  projecting  slides  from  which 
compositions  can  be  written.  The  better  moving  pic- 
tures of  literary  importance,  such  as  Romeo  and  Juliet 
and  M'uthering  Heights,  are  not  readily  available  for 
school  use,  let  alone  for  classroom  showing.  In  uncut 
form,  the  original  features  would  be  too  lengthy  to  be 
practicable. 

There  are,  however,  comparatively  unexploited  meth- 
ods that  can  be  both  effective  and.  in  times  like  these, 
patriotic.  They  involve  color  photography,  an  educa- 
tional diversion  enjoyable  to  teacher  and  class  alike. 
Units  of  the  miniature  2x2  kodachrome  slides  are 
really  economical  in  proportion  to  the  satisfying  re- 
turns, in  respect  to  camera,  film,  and  projection  equip- 
ment. The  results  are  life-like,  and  the  slides  can  be 
compactly  filed.  They  are  also  easily  organized,  or  re- 
organized, whenever  different  sets  are  to  be  used  under 
different  circumstances.  Only  two  minor  difficulties 
present  themselves :  color  film  is  scarce  for  the  duration, 
and  a  bright,  direct  sun  is  almost  an  absolute  requisite 
to  obtain  the  best  views.  On  the  other  hand,  the  heavy 
black   and   whites   are   cumbersome   and   fully  as   ex- 


James  Russell  Lowell's  "Eltnwood,"  Cambridge,  Mass. 


"Old  Manse," home  of  Nathaniel  Hawthorne, Concord, Mass. 


Specific  suggestions  as  to  how  school-made  2x2 
kodachrome  slides  may  be  utilized  to  vitalize 
and  enhance  the  teaching  of  high  school  English 

ADELBERT   M.   JAKEMAN 

Head  of  the  Department  of  English, 
High  School,  Westfield,  Massachusetts 

pensive,  if  made  up  commercially  as  most  amateurs 
would  need  to  do. 

There  are  two  general  kinds  of  pictures  that  can  be 
accumulated  either  personally  or  commercially.  First 
are  views  of  literary  shrines — homes  where  famous 
authors  were  born,  lived,  wrote,  or  died.  Such  slides, 
especially  if  they  can  be  obtained  of  nearby  places  (and 
no  one  lives  too  far  from  such  a  spot),  can  do  consider- 
able to  stimulate  a  pride  in  native  writers  and  their 
writing.  There  is  something  indefinable  to  be  gained 
by  lingering,  if  only  through  the  means  of  illustration, 
where  the  great  and  the  near  great  have  been.  To 
realize  that  these  men  and  women  were  also  human 
beings  may  well  be  the  means  to  a  new  appreciation  of 
what  they  wrote.     It  is  excellent  background  material. 

True,  the  teacher  is  the  one  who  will  benefit  first  hand 
by  the  experience  of  visiting  the  scenes,  but  after  all. 
that  is  the  round-about  way  in  which  a  class  profits 
by  a  teacher's  trip  abroad  or  by  a  graduate  course  at 
the  university.  Furthermore,  the  attractive  prospect  of 
this  kind  of  picture  taking,  in  ordinary  times,  gives  in- 
centive and  purpose  to  vacation  expeditions. 

Some  of  the  larger  dealers  are  making  increasingly 
available  literary  slides  that  can  be  used  in  connection 
with  teaching  English.  Strangely  enough,  there  are 
more  English  views,  such  as  of  the  Shakespeare  coun- 
try or  the  lake  district,  on  the  market  than  American 
ones.  They  can  be  purchased,  usually,  for  fifty  cents 
each,  whereas  individually  taken  they  will  average 
twelve  to  fifteen  cents.  Duplicates  of  originals  can  be 
made  for  about  thirty-five  cents  each. 

When  can  or  should  these  pictures  be  shown?  There 
are  two.  maybe  three  or  more,  profitable  times.  The 
best  is  to  show  a  group  of  the  slides  at  the  end  of  a  unit 
of  reading.  For  instance,  at  the  close  of  a  study  of  the 
authors  in  the  New  England  period,  pictures  could  be 
thrown  on  the  screen,  in  the  darkened  classroom  or  in 
the  visual  aids  room,  of  the  homes  of  Longfellow,  Haw- 
thorne. Whittier,  Lowell.  Emerson,  and  others.  Their 
homes  happen  to  be  not  widely  scattered,  besides  be- 
ing well-known  enough  so  that  the  pictures  can  be  se- 
cured easily.  Again,  a  unit  of  twentieth-century  Am- 
erican authors  could,  with  a  little  research,  be  supple- 
mented in  color. 

A  second  method  of  showing  literary  sites,  especially 
if  there  are  only  occasional  pictures  when  it  would  be 
impracticable  to  set  up  equipment  or  to  move  the  class, 
consists  of  the  time-honored  system  of  passing  pictures 
around  the  class  for  each  pupil  to  inspect  at  leisure. 
There  are  many  convenient  and  inexpensive  slide  view- 
ers on  the  market  now,  so  that  by  using  such  an  instru- 
ment there  is  no  interruption  of  routine,  and  the  same 

(Concluded  on  page  182) 


May,  194} 


Page   169 


The  Film  and  International  Understanding 


Educational  Film  Plan 
for  the  United  Nations 

HERBERT   S.   HOUSTON 

Chairman  of  the  Institute  for  the  Advancement 
of  Visual  Education  and  Vocational  Training 

SIR  Staflford  Cripps  in  a  recent  address  before  the 
old  University  of  Aberdeen  put  the  present  situa- 
tion clearly  when  he  said:  "We  must  take  action 
now  to  make  certain  that  our  victory  will  not  be  barren 
and  will  stretch  through  the  years  of  peace  as  well  as 
those  of  war."  People  are  beginning  to  see  clearly  that 
a  great  job  of  mass  education  is  to  be  done  if  people 
generally  have  the  understanding  on  which  alone  per- 
manent peace  can  be  founded.  This  education  must  be 
of  the  broadest  character,  free  from  partisan,  religious 
or  racial  bias  and  based,  of  course,  on  the  deep  convic- 
tion that  the  kind  of  world 
the  United  Nations  are 
fighting  for  is  a  Free 
W^orld. 

How  can  that  kind  of 
mass  education  be  provided 
in  the  time  available?  It  is 
safe  to  assume  that  the  read- 
ers of  this  magazine  would 
say  at  once — only  by  the 
educational  motion  picture 
in  the  schools  and  the 
agencies  of  adult  education 
in  the  United  Nations,  al- 
ways in  the  language  of  the 
country  in  which  the  pic- 
tures are  shown. 

That  is  precisely  what  is 
proposed  in  the  Educational  Plan  outlined  in  this  brief 
article.  A  few  days  ago  at  the  Century  Club  in  New 
York  this  plan  was  explained  to  a  group  of  leading 
educators,  nearly  all  with  broad  international  experi- 
ence, including  Dr.  Paul  Monroe,  President  of  the 
World  Federation  of  Education  Associations.  Dr. 
Stephen  Duggan,  Director  of  the  Institute  of  Inter- 
national Education,  Dr.  Malcolm  Davis,  Associate  Di- 
rector of  the  Carnegie  Endowment,  Dr.  Henry  A.  At- 
kinson, Director  of  the  World  Alliance  of  Churches. 
Dr.  Reinhold  Schairer,  Director  of  the  U.  S.  Committee 
on  Educational  Reconstruction,  Dr.  Ken  Shaw,  Di- 
rector of  the  China  Institute,  and  one  or  two  others. 
They  strongly  endorsed  the  Plan  and  expressed  the  hope 
that  ways  would  be  found  for  putting  it  to  work. 

This  Plan  has  grown  out  of  the  plan  of  the  late  Dr. 
David  Starr  Jordan  (of  Stanford  University)  to  which 
was  given  the  Raphael  Herman  Award  of  $25,000.00 
some  years  ago  for  being  the  best  for  promoting  Peace 
through  the  Schools  of  the  world.  In  1937  the  writer 
of  this  article,  who  had  been  one  of  the  Board  of  Judges 
making  the  award,  presented  the  substance  of  the  David 
Starr  Jordan  Plan  in  an  address  before  the  World  Fed- 


EJitor's  Note:  Dr.  Houston's  article  deals  with  the 
most  comprehensive  plan  yet  proposed  for  the  use 
of  the  educational  motion  picture  as  a  world-wide 
instrument  of  international  understanding.  It  is  not 
a  plan  which  was  devised  overnight,  but  is  the  result 
of  years  of  evolving  thinking  on  this  problem.  We 
commend  it  to  our  readers  for  serious  consideration 
and  evaluation.    Comments  will  be   welcomed. 

Dr.  Houston  is  an  educator,  editor,  and  world 
traveler,  eminently  qualified  to  speak  in  this  field. 
Formerly  publisher  of  The  World's  Work  magazine, 
and  editor  of  its  Spanish  edition,  he  now  is  a  mem- 
ber of  the  American  Committee  of  the  International 
Chamber  of  Commerce,  a  member  of  the  Motion 
Picture  Research  Council,  and  Chairman  of  the 
Institute  for  the  Advancement  of  Visual  Education 
and  Vocational  Training. 


Edited  by  DR.  lOHN  E.  DUGAN 

Haddon  Heights,  New  Jersey,  Schools 

eration  of  Education  Associations  in  Tokyo.  It  was 
unanimously  approved  and  placed  on  the  permanent 
program  of  the  World  Federation.  Dr.  Paul  Monroe 
stated  at  the  recent  Century  Club  Conference  that  it 
was  still  on  the  Permanent  Program  and  the  World 
Federation  stood  ready  to  support  it  in  every  possible 
way. 

The  present  Plan,  based  on  the  Jordan  Plan,  has 
been  drafted  by  the  writer  with  the  collaboration  of 
Dr.  Wallace  W.  Atwood.  President  of  Clark  University. 
and  Dr.  F.  Dean  McClusky.  Head  Master  of  Scar- 
borough School  and  one  of  the  editors  of  Educational 
Screen.  It  is  proposed  in  the  Plan  that  Dr.  Atwood 
will  develop  a  series  of  educational  motion  pictures  ex- 
plaining and  interpreting,  in  both  text  and  picture,  the 

human  and  economic  facts 
about  each  country — always 
in  relation  to  each  other  and 
the  world.  It  is  also  pro- 
])osed  to  have  a  series  of 
pictures  on  world  economics 
as  the  basis  of  Peace,  by 
one  of  the  greatest  living 
economists.  Dr.  John  B. 
Condliffe.  long  head  of  the 
Economic  Section  of  the 
League  of  Nations  and  now 
Professor  of  Economics  at 
the  University  of  Califor- 
nia. 

These  educational  motion 
pictures  are  to  be  definitely 
for  the  schools  and  for  the 
many  agencies  of  adult  education  in  the  United  Nations. 
They  will  be  made  by  educators,  interesting  and  pic- 
torial, but  always  distinctly  for  the  schools.  Their 
purpose  will  be  to  interpret  the  economic,  cultural  and 
spiritual  principles  on  which  the  United  Nations  hope 
to  build  the  post-war  world. 

In  order  to  have  them  factual  and  free  from  propa- 
ganda it  is  proposed,  when  an  organization  is  effected 
for  the  United  Nations,  to  have  an  international  com- 
mittee of  educators,  representing  each  country,  formed 
to  determine  general  policy  as  to  production  and  dis- 
tribution. The  expectation  is  that  the  successful  pattern 
will  be  followed  that  has  been  used  by  the  Office  of 
Education  in  the  production  (under  contract  with  pri- 
vate producers)  of  the  training  motion  pictures  for  the 
war  industries.  Various  methods  are  now  being  con- 
sidered for  the  necessary  financing— from  the  govern- 
ments of  the  United  Nations,  from  Foundations,  and 
from  private  sources.  But  whatever  way  is  decided  on 
as  the  best,  all  things  considered,  it  is  clearly  manifest 
that  the  very  moment  has  come  to  develop  a  broad 
educational  motion  picture  plan  for  inass  education 
throughout  the  United  Nations. 


Page   170 


The  Educational  Screen 


MOTION  PICTURES- 
NOT  FOR  THEATRES 

By    ARTHUR    EDWIN    EROWS 


Part  47. — Some  early  outlets  for  the  film 
with  a  message.  There  is  more  to  it  than 
meets  the  eye.  and  arranging  to  meet  the 
eye  is  possibly  the  crux  of  the  problem 


SHOWINGS  of  that  "requested"  sort 
were  usually  on  a  basis  of  exchanged 
values  rated  in  good  will.  The  plan  of 
money  payments  to  exhibitors  probably 
began  in  pettier  fashion,  some  local 
business  man  bribing  the  theatre  pro- 
jectionist with  a  dollar  or  two  to  slip  in 
an  advertising  reel  when  the  manager 
wasn't  looking.  But,  as  time  went  on,  the 
house  manager  found  that  an  interesting 
advertising  reel  could  save  him  the  price 
of  an  entertainment  "filler''  from  the  reg- 
ular exchange  and  the  saving  might,  be- 
side, offset  the  extra  price  of  an  especially 
good  theatrical  novelty,  when  the  bill 
changed.  .Xnd  so,  bit  by  bit,  the  practice 
grew  until  the  non-theatrical  distributors 
openly  proposed  contracts  w'ith  entire 
theatrical  circuits  for  regular  releases 
of  advertising  subjects,  offering  and 
eventually  paying  substantial  sums  for 
the  privilege,  while  collecting,  of  course, 
still  handsomer  sums  from  their  clients. 
It  is  on  this  basis  that  J.  Don  Alexander 
was  able  to  boast,  at  a  convention  of 
his  representatives,  that  more  than  one 
million  dollars  would  be  paid  to  theatres 
during  1937  for  showing  commercial 
films  of  the  .Alexander  Film  Company 
of  Colorado  Springs.  It  was  the  secret 
of  the  prosperity  of  Visugraphic  under 
Edward  Stevenson.  It  was  the  business 
policy  of  Mason  Wadsworth  when  he 
built  a  profitable  season  with  his  out- 
standing commercial  for  "Zonite." 

Under  the  system,  as  it  grew,  the  non- 
theatrical  producer  was  able  to  ap- 
proach an  industrial  client  and  as  glibly 
as  any  re.gular  advertising  sales  manager, 
guarantee  him  so-much  "coverage''  in 
so-much  time  and  over  so-much  territory. 
The  advertising  agencies,  which  had  not 
been  disposed  previously  to  divert  from 
their  clients'  annual  budgets  the  compara- 
tively large  sums  required  for  picture 
production,  in  view  of  the  poor  record  of 
non-theatrical  distribution,  now  began  to 
show  interest.  They  really  knew  enough 
about  the  non-theatrical  record,  too.  Ivy 
Lee  had  seen  much  of  it ;  P.  L.  Thom- 
son, one-time  president  of  the  Association 
of  National  Advertisers  and  long  presi- 
dent of  the  Audit  Bureau  of  Circulations, 
knew  plenty  about  it ;  so  did  Howard  G. 
Stokes  of  the  A.T.  &  T. ;  Alexander  Leg- 
gett  had  had  his  own  agency;  Bruce 
Barton  had  served  Pictorial  Clubs. 

I  am  not  naming  all  of  the  contacts, 
of  course — just  sufficient  to  show  that 
the  advertising  agencies  had  had  an 
awareness  concerning  the  new  publicity 
medium  from  its  beginning.  But.  if  one 
wishes  a  date  to  affix  to  that  time  when 
advertising  agencies  definitely  committed 
themselves  to  recognition  of  the  screen 
as  another  practicable  direction  for  their 
work,  I  submit  December,  1929.  In  that 
month     and     year    the    Campbell-Ewald 


Company,  a  Detroit  agency,  announced 
that  it  had  joined  with  the  Chevrolet 
Motor  Company  and  eight  leading  motion 
picture  advertising  "distributing  service 
companies,"  so  called,  to  form  the 
National  Screen  .■Advertising  Bureau, 
with  headquarters  in  Detroit.  The  cov- 
erage was  to  be  of  the  entire  United 
States,  and  the  Bureau  offered  to  pros- 
pective advertisers  an  analysis  of  the 
continental  cities  and  theatres,  with  cost 
data  and  rate  cards  for  ordering  "space." 
In  view  of  the  educators'  suspicion  of 
commercial  taint  in  certain  school-film 
enterprises,  it  is  interesting  to  notice  how 
this  general  situation  of  advertising  reels 
in  theatres  reacted  upon  exhibitors,  them- 
selves. Their  attitude  was  shown  clearly 
in    their    suspicion    of   commercial    taint 


Henry  T.  Ewald,  president  of  the 
Campbell-Ewald  Co.,  of  Detroit, 
which  seems  to  have  been  the  first 
large  agency  to  adopt  the  screen  as 
a  regular  advertising  medium. 

when  any  organization  outside  the  in- 
dustry sought  to  sell  reels  through  the 
regular  exchanges.  For  example  I  offer 
the  case  of  the  Woman's  Home  Com- 
panion. With  its  huge  circulation  and 
remarkably  efficient  system  of  keeping  in 
touch  with  its  readers,  this  magazine 
was  an  instrument  in  fostering  public  re- 
lations which  no  theatrical  man  could 
afford  to  ignore.  And  yet,  that  it  should 
concern  itself  with  the  production  of  odd 
pictures  was  a  reason  for  him  to  suspect 
there  also  an  ulterior  motive. 


"Woman's  Home  Companion" 
Pictures 

Well,  there  was  an  ulterior  motive, 
if  one  wishes  to  split  hairs  about  it.  The 
Woman's  Home  Companion  was  inter- 
ested in  proving,  by  example,  that 
there  was  place  in  the  theatre  for  stories 
about  women  based  on  modern,  home 
problems,  as  well  as  for  those  motivated 
wholly  by  sex.  The  theatrical  industry 
probably  should  have  been  more  inter- 
ested in  proving  this  point  than  the 
magazine;  but.  with  the  exception  of  a 
few  enlightened  members,  it  preferred  to 
hold  aloof  and  privately  deprecate  the 
effort  as  another  attempt  to  "grab"  the 
screen  for  free  publicity  purposes.  In 
reality  the  publication  was  responding,  in 
a  fine  practical  way,  to  the  impulse  of 
a  great  movement.  Miss  Gertrude  Lane, 
the  editor-in-chief  who  so  long  and  so 
admirably  performed  the  difficult  task  of 
directing  the  affairs  of  the  Companion. 
and  Mrs.  Anna  Steese  Richardson,  con- 
ductor of  the  "Better  Citizensliip  Bureau" 
in  its  columns,  had  watched  the  gradual 
emancipation  of  women  in  the  mounting, 
tumultuous  years  of  the  twentieth  century. 
Incredible  as  it  is  to  realize  now.  national 
female  suffrage  was  not  proclaimed  in 
the  United  States  until  1920,  in  the 
Nineteenth  Constitutional  .Amendment. 
Miss  Lane  and  Mrs.  Richardson  were 
merely  trying  to  make  the  motion  picture 
industry  wake  up. 

The  industry  had  had  many  previous 
magazine  contacts,  and  even  in  this 
humanitarian  way.  The  Kalem  Company, 
for  instance,  had  collaborated  with  the 
Ladies'  World  in  1915  to  make  a  two- 
reeler  on  impure  foods.  Paramount 
"Pictographs"  had  even  released  some 
short  "child  study"  films  edited  by  the 
Woman's  Home  Companion.  But  now, 
about  1922,  Miss  Lane  wished  to  go 
further.  She  persuaded  the  publishers 
to  permit  her  to  produce  a  few  filmr-  to 
illustrate  her  point  as  well  as  to 
sponsor  their  distribution.  The  first 
of  the  intended  series  was  based  upon 
a  short  story  by  Mrs.  Alice  .Ames  Win- 
ter, president  of  the  American  Feder- 
ation of  Women's  Clubs,  who  had  written 
extensively  in  various  magazines  about 
the  opportunities  neglected  by  Hollywood. 
There  were  three  other  stories  by  other 
authors. 

The  editors  realized  quickly  enough  that 
they  needed  professional  assistance  so  far 
as  picture  production  work  was  concerned, 
but,  in  the  circumstances,  they  felt  it  best 
to  avoid  the  regular  theatrical  pro- 
ducers, whose  estimated  charges  had 
seemed  rather  high  for  this  experiment 
which  had  to  be  completed  within  the 
modest  appropriation.  In  casting  about 
for   a    proper    connection    they   came    to 


May,   194} 


Page    171 


Gertrude  Lane,  W'oman^s  Home 
Companion  editor,  sought  to  con- 
vince Hollywood  that  home  prob- 
lems could  make   interesting   films. 

Frank  Tichenor  and  his  Eastern  Film 
Corporation.  He  at  once  placed  all 
facilities  of  his  organization  at  their 
disposal,  and  gave  them  unlimited  time 
to  make  up  their  minds.  This  was  un- 
fortunate. During  the  delay  the  East- 
ern Films  salesman  who  had  the  account, 
one  Albert  St.  Peter,  was  dismissed.  He 
promptly  steered  the  prospective  clients 
away  from  Frank  Tichenor  to  a  free 
lance  director  with  whom  he  then  planned 
to  share  tlie  profits. 

This  new  man  was  Arthur  J.  Zellner, 
who  had  had  some  small  connection  with 
studios  in  the  New  York  area.  He  was 
best  known  then  as  the  husband  of 
Lois  Zellner,  author  of  the  first  Holly- 
wood "Triangle-Ince"  starring  vehicle  for 
Enid  Bennett.  He  figured  later  in 
Hollywood  as  a  writer,  under  the  name 
Arthur  Julian.  In  the  circumstances, 
having  a  contract  with  the  Woman's 
Home  Companion,  it  was  not  difficult 
to  arrange  for  all  materials  and  equipment 
necessary  for  production  of  the  four  in- 
tended pictures,  so  Zellner  plunged  into 
the  work  and  in  a  reasonable  time  com- 
pleted it.  The  general  quality  of  the 
pictures  seems  to  have  been  passable, 
although,  I  believe,  the  fourth  was 
eventually  scrapped  as  unsuited  to  the 
purpose.  In  the  few  theatres,  where 
the  other  three  were  shown  for  test 
findings,  they  seem  to  have  been  attended 
with  respect  because  of  the  auspices 
under  which  they  were  presented ;  but 
the  editors  soon  realized  that  they  were 
not  sufficiently  distinguished  to  compete 
with  the  regular  Hollywood  product. 
They  realized,  too,  that  they  themselves 
had  not  sufficiently  studied  the  theatrical 
machinery  of  distribution  to  make  the 
scries  most  easily  assimilable  in  number 
and  unit  length. 

Naturally  distressed  at  this  fizzling 
outcome  of  an  altruistic  endeavor.  Miss 
Lane    bethought    herself    of    the    newly 


formed  association  of  Motion  Picture 
Producers  and  Distributors  of  America, 
the  "Will  Hays  committee."  Mr.  Hays 
was  an.xious  to  assist  any  worthy  under- 
taking in  the  business,  and  Miss  Lane 
decided  to  avail  herself  of  his  friendly 
advice.  She  found  it  more  particularly 
i-.i  expressions  by  another  gentleman  there 
whose  name  was  i)ronounced  like  Will's 
but  was  spelled  with  an  "e."  Ralph 
Hayes,  who  had  been  secretary  to  New- 
ton D.  Baker,  U.  S.  Secretary  of  War 
in  Woodrow  Wilson's  cabinet,  had  lately 
become  assistant  to  Will  Hays.  Ralph 
was  genuinely  interested  in  educational 
and  social  service  possibilities  of  the 
screen  and  had  made  a  fair  study  of 
them.  He  told  Miss  Lane  frankly  that 
her  pictures  could   not  become   fully  ac- 


ceptable to  the  theatres  as  they  were, 
and  advised  her  to  seek  a  non-theatrical 
outlet  for  them.  She  inquired  where  that 
might  be  found,  and  he  suggested  that 
she  might  do  well  to  ask  Fred  S.  Wythe, 
a  gentleman  who  had  been  to  see  him 
once  or  twice  and  who  really  seemed  to 
know  what  it  was  all  alwut. 

Ralph  Hayes  had  hoped,  at  first,  that 
the  Motion  Picture  Producers  and  Dis- 
tributors of  America  would  be  able  to 
lend  a  strong  assistance  to  the  struggling 
non-theatrical  field,  but  he  soon  saw  how 
imi)ractical  that  was  when  they  had 
so  many  problems  of  their  own.  He  left 
the  M.P.P.D.A.  in  1923,  after  only  a 
jear  of  service  there,  to  become  executive 
director  of  the  New  York  Community 
Trust. 


Chapter  XI — The  All-Embracing  View 


WHILE  the  money  to  be  made 
in  non-theatricals  now  seemed 
all  at  once  to  center  paradoxi- 
cally in  the  theatre,  and  there  was  a  great 
rush  to  profit  thereby,  efforts  to  organize 
non-theatrical  distribution  proper  still 
continued.  Broad  schemes,  covering  the 
entire  field  in  the  horizontal  plane,  were 
encouraged  to  assert  themselves  especi- 
ally now  that  the  vertical  factors  were 
reasonably  well  defined.  The  non-the- 
atrical wilderness  of  1910  had  been  gen- 
erally cleared  to  view.  In  the  years  fol- 
lowing World  War  No.  I  the  unexplored 
portions  of  the  industrial  map  had  been 
rapidly  filled  in,  with  the  salient  features 
at  least,  and  the  man  with  executive 
ambitions  could  see  it  in  fair  perspective 
and  balance.  So  long  as  he  could  appre- 
hend it,  or  thought  he  could,  his  plans 
for  the  realization  of  rich  possibilities 
naturally  crowded  his  imagination. 

The  Golden  Dream 

One  instance  of  this  came  to  me  in 
circumstances  which  would  have  appealed 
to  Haroun  al  Raschid,  Commander  of 
the  Faithful,  Caliph  of  Bagdad.  It  was 
past  midnight,  one  dark  of  the  moon  in 
1926,  when  I  was  aroused  from  my  bed 
to  answer  the  telephone.  The  caller,  a 
stranger,  inquired  if  I  was  the  author  of 
Dollar-a-Foot,  an  anonymous  article  on 
non-theatrical  production  which  I  had 
lately  written  at  the  request  of  Joseph 
Dannenberg,  editor  of  the  Film  Daily. 
I  admitted  the  fact,  and  the  caller  intro- 
duced himself  as  Walter  H.  Brooks, 
representing  a  wealthy  gentleman  who 
was  greatly  interested  in  school  films, 
but  whose  name  might  not  then  be  men- 
tioned. Brooks  wished  to  see  me  as  soon 
as  possible  to  arrange  a  meeting  with 
his  principal. 

.'\cceding  to  his  request  the  next  day, 
I  found  Brooks  to  be  an  earnest,  mild- 
mannered  young  man,  devoting  his  full- 
time  service  to  collecting  confidential 
non-theatrical  information  for  the  myster- 
ious tycoon.  Apparently  satisfied  with 
my  answers  to  his  searching  questions, 
he  directed  me  to  an  appointment  at  the 
Hotel  Gladstone,  in  New  York  City, 
where  he  assured  me  I  should  be  properly 
received  and  that  the  mystery  would  be 
dispelled. 


The  gentleman  awaiting  me  at  the 
Gladstone  proved  to  be  one  no  more 
really  mysterious  than  George  A.  Skinner, 
one-time  president  of  Educational  Pic- 
tures, Inc.  He  wished,  first  of  all,  to 
know  if  I  would  be  interested,  as  a 
producer,  in  joining  a  large  non-theatri- 
cal project  which  was  being  prepared 
quietly  and  might  soon  be  announced. 
Assured  that  I  would,  he  then  spent 
about  three  hours  telling  me  about  it. 
However,  they  were  interesting  hours. 
It  was  all  his  own  plan.  It  was  astonish- 
ingly detailed,  but  lie  wished  to  obtain 
additional  ideas  which  might  be  incor- 
porated in  the  scheme  for  its  betterment. 
He  asked  me  many  questions  about  pro- 
duction facilities,  about  glass-enclosed 
"daylight"  stages,  for  instance,  which 
he  knew  had  long  since  gone  out  of 
fashion,  but  which  he  believed  still  had 
many  points  of  real  economy.  At  this 
particular  time  economy  was  Skinner's 
main  idea,  it  seemed;  and  that  explained 
why  "Danny's"  title  of  my  article  in  the 
Film  Daily  had  caught  his  eye. 

He  unrolled  large  statistical  charts  on 
the  floor  of  his  apartment,  and  carefully 
explained  to  me  how  everything  dove- 
tailed into  everything  else.  Every  con- 
ceivable phase  had  been  covered,  he 
believed ;  and  his  belief  was  credible.  He 
had  been  trained  to  think  and  to  coordin- 
ate as  an  engineer.  He  had  attended  the 
Massachusetts  Institute  of  Technology. 
He  was  intelligent,  thorough,  tireless  and 
convinced  of  his  opportunity  to  render 
a  great  service  to  the  cause  of  education. 
The  schools  constituted  his  main  objec- 
tive. 

He  had  satisfied  himself  that  a  rental 
price  of  two  dollars  per  reel  per  day 
was  the  most  to  be  obtained  therefrom, 
and  his  entire  plan  had  been  geared  to 
that  presumed  income.  Support,  however, 
could  then  come  only  from  a  heavy  vol- 
ume of  small  sales.  So  he  had  concluded 
that  the  business  of  supply  must  be 
extensive  to  subsist.  It  could  not,  in  his 
opinion,  start  small  and  grow  into  the 
large,  but  it  must  be  large  from  the 
very  beginning,  and  remain  so.  I  have 
forgotten  now,  but  my  recollection  is 
that  he  estimated  his  need  of  funds  to 
be  about   two  million   dollars.   Anyway, 


Page    172 


The  Educational  Screen 


it  was  a  large  sum,  and  that  is  why  it 
was  not  then  a  going  concern.  He  was 
negotiating  for  backing  among  his  Wall 
Street  friends,  and  there  were  indications, 
he  said,  that  it  might  be  forthcoming  soon. 
It  might  be  tomorrow,  it  might  be  next 
year,  and,  then  again,  it  might  not  come 
for  a  decade.  How  ever  it  might  be 
Skinner  was  quite  resigned  to  waiting. 
Whenever  the  happy  day  arrived,  he 
would  be  found  still  working  to  perfect 
the  plan. 

As  it  happened,  it  was  a  decade,  indeed, 
and,  just  as  he  had  said,  when  it  came 
he  was  at  work  on  the  plan.  In  the 
interval  he  had  become  an  organizer  of 
Motion  Picture  Research  Council  and 
treasurer  of  the  Payne  Fund  survey  of 
the  eflfect  of  photoplay  exhibitions  on 
children.  Most  of  the  time  he  had  kept 
driving  at  his  ambitious  paper  project, 
correcting  it  here  and  there  as  improved 
ideas  came  to  his  notice,  noting  the 
names  and  capabilities  of  those  whom  he 
would  put  on  his  payroll  when  the  zero 
hour  arrived  and  he  might  go  over  the 
top.  But  all  the  while  he  was  losing,  in 
the  purple  byways  of  his  dream,  more 
and  more  of  his  once  considerable  per- 
sonal fortune.  Long  since  he  had  had  to 
give  up  the  employment  of  a  scout  to 
uncover  news  of  current  developments, 
although  Brooks,  then  employed  in  the 
New  York  office  of  Educational  Pictures, 
tried  to  do  all  he  could  to  help,  without 
pay,  out  of  the  goodness  of  his  heart. 
When  I  talked  to  Brooks  about  Skinner 
in  later  years,  he  wagged  his  head  in 
mixed  admiration  and  vexation  at  the 
man's  tenacity  of  purpose;  but  at  the 
same  time  he  renewed  his  pledge  of 
fealty.  Truly  the  star  which  guides  us 
is  not  a  seeable  thing  but  an  Idea ! 

In  1941  and  1942  I  was  to  work  under 
the  same  roof  and  in  close  association 
with  Walter  Brooks,  he  distributing  and 
I  producing  Latin-American  propaganda 
films  for  the  Office  of  the  Coordinator 
of  Inter-American  Affairs ;  and  I 
"  was  to  realize  then  that  Walter 
Brooks  had  gained  a  reward  for  that 
experience  after  all — an  unmatched  over- 
view of  the  non-theatrical  field,  an 
acquaintance  with  its  practical  problems 
and  pursuits,  born  of  his  inquiring  habits 
as  those  had  been  fostered  by  Skinner. 

Towards  the  close  of  1935,  George 
Skinner,  then  residing  at  Scarborough- 
on-Hudson  in  the  benevolent  sphere  of 
Frank  Vanderlip's  community  influence 
and  not  so  far  from  the  principal  Rocke- 
feller home  at  Pocantico  Hills,  found  a 
growing  appreciation  in  the  Rockefeller 
Foundation.  The  powers  there  were  real- 
izing that  a  time  was  nearing  for  im- 
portant accomplishments  of  films  in 
education,  and  that  Skinner  had  sifted 
and  developed  useful  material.  Probably, 
also,  he  had  by  then  reduced  his  needs 
to  less  than  two  million  dollars  for  a 
suitable  start.  The  practicable  use  of 
16mm  films,  instead  of  the  3Smm  variety 
which  had  prevailed  at  the  time  when 
he  had  talked  with  me,  must  have  made 
a  sharp  difference.  Anyway,  in  the  Rocke- 
feller establishment,  he  had  found  at 
last  someone  who  really  could  make  it 
all  come  true,  someone  who  was  practi- 


cally interested  in  studying  the  details 
with  him. 

December  21,  almost  on  the  eve  of  a 
happy  Christmas,  he  expected  to  hear 
the  long-awaited  verdict.  On  that  same 
day,  curiously,  he  had  an  appointment  at 
a  friend's  office,  for  his  first  meeting  with 
F.  S.  Wythe.  For  some  inexplicable 
reason  these  two  men,  so  much  akin  in 
spirit,  had  never  come  together.  Now 
Wythe,  finding  his  own  plans  so  fre- 
quently overlapping  those  of  Skinner, 
was  seeking  a  possible  merger  of  their 
interests.  Wythe  came  to  the  office  punc- 
tually, and  the  friend  said :  "George  is 
certain  to  be  here  any  minute.  He  never 
misses  an  appointment."  Nevertheless, 
an  hour  elapsed  without  his  arrival.  The 
friend  said :  "I've  never  known  him  to 
be  late  before.  Something  extraordinary 
must  have  happened."  A  little  later  a 
phone  call  came  from  Mrs.  Skinner. 
Something  extraordinary  had  happened — 
just  about  an  hour  previous  George 
Skinner  had  fallen  dead. 

Some  of  his  shocked  friends,  aware 
of  his  latest  movements,  put  their  heads 
together  and  compared  notes.  They 
learned  that  just  before  the  end  someone 


Probably  the  first  to  organize  the 
exhibition  of  advertising  films  in 
theatres  was  Harry  Levey.  He  was 
less  successful,  though,  in  trying 
to    build    a    non-theatrical     circuit. 

had  phoned  Skinner  to  say  that  the  money 
for  his  scheme  was  assured,  was  coming 
through  at  last,  after  all  those  years, 
all  that  struggle  and  heartache.  The  con- 
clusion was  irresistible — and  grimly  iron- 
ical :  the  good  news  had  been  too  much 
for  George  Skinner  to  bear. 

The  Opportunity  Man 

Then  there  is  the  case  of  the  gentle- 
man who,  at  last  reports  and  after  some 
years  of  real  estate  promotion  on  Long 
Island,  has  been  recently  concerned  with 
the  production  and  sale  of  novelty  adver- 
tising displays  in  New  York.  He  also 
had  a  nationwide  plan  for  non-theatrical 
distribution  and,  in  his  case,  he  actually 
saw  it  in  practice.  I  refer  to  Harry  Levey. 
What  is  more,  Harry  Levey  was  proba- 
bly the  first  to  attempt  a  national  cir- 
culation of  advertising  films  in  theatres. 


About  1915  he  had  been  in  charge  of 
Carl  Laemmle's  industrial  department  at 
Universal.  His  developed  plan  there 
had  been  to  produce  advertising  reels 
which  theatres  were  given  free  to  run 
and  for  which  the  owners  paid  Univer- 
sal. Moreover,  early  in  1919  he  and 
Don  Carlos  Ellis  arranged  with  Dr. 
Francis  Holley  to  distribute  through 
Universal,  films  for  the  Bureau  of  Com- 
mercial Economics,  announcing  that 
thereby  the  industrialist  owners  could 
more  readily  check  up  on  the  actual  ex- 
hibitions. 

Apparently  the  system  of  obtaining 
screens  for  industrial  films  in  this  man- 
ner found  no  serious  hitch  until  about 
1920.  Just  what  happened  then  was  one 
of  those  behind-the-scene  mischances 
that  do  not  ordinarily  reach  public  know- 
ledge ;  but  it  resulted  in  Harry  Levey's 
departure  from  Universal.  The  Goodyear 
Rubber  Company  was  reported  to  have 
contracted  with  Universal  to  provide  a 
reel  and  distribution  in  certain  time  and 
quantity  for  a  sum  named  as  $100,000. 
The  reel  was  duly  produced  and  shipped 
as  free  "filler"  entertainment  to  a  num- 
ber of  regional  exhibitors  who  had  been 
known  to  cooperate  along  similar  lines 
previously.  Time  passed  and  the  prints 
were  returned  to  the  exchanges.  There 
was  natural  assumption  that  their  screen- 
ings had  taken  place,  and  Goodyear  was 
billed  for  the  service. 

A  check  on  all  exhibitors  who  are 
supposed  to  run  advertising  reels  is  a 
difficult  matter  at  any  time,  and  it  was 
especially  so  in  those  days  when  the 
present  efficient  checking  machinery  did 
not  exist.  So,  when  it  transpired  that 
Goodyear  had  made  its  own  check  and 
declared  that  some  of  the  avowed  exhibi- 
tions never  occurred,  it  was  up  to  Uni- 
versal to  prove  its  point.  The  story  on 
the  street  was  that  Laemmie  was  obliged 
to  send  out  an  especial  booker  to  have 
the  reel  shown  as  agreed  and  that  he 
expended  the  entire  $100,000  in  doing 
it.  Something  of  the  same  sort  is  said 
to  have  caused  Henry  Ford  to  sever 
his  extensive  business  relations  with  a 
non  -  theatrical  producer  -  distributor  in 
Detroit,  a  firm  now  out  of  existence.  But 
the  normal  difficulties  of  such  a  situation 
easily  temper  possible  blame  for   Levey. 

Besides,  in  Levey's  instance,  there  may 
have  been  extra-special  circumstances  to 
excuse  culpability.  When  Levey  began 
at  Universal  he  had  had  one  Sydney  S. 
Cohen  as  his  oflice  boy.  Cohen  was  an 
exceedingly  bright  lad  who  rose  rapidly 
to  become  a  prominent  New  York  exhibi- 
tor. In  time  he  was  even  to  become  pres- 
ident of  The  Motion  Picture  Theatre 
Owners  of  America.  While  Levey  was 
still  at  Universal  Cohen  was  telling 
his  fellow  exhibitors  the  inside  story  of 
how  Universal  was  providing  those  "free" 
advertising  reels.  "You  are  fools  to  run 
ad  films  for  nothing,"  Cohen  is  reported 
to  have  said  in  effect  to  his  business 
friends,  "because  Universal  is  making  a 
million  dollars  a  year  for  itself  out  of 
the  deal."  The  Universal  annual  net  was 
probably  not  a  million  dollars,  even  with 
such  formidable  advertisers  as  Goodyear 
and  the  Larkin  Soap  Company ;  but  it 
(Continued  on  page  190) 


May,   194} 


Page   173 


LAs  jLitsxatuzE  in  ^l/iiuaL  lJn±txaaiion 


A    Monthly    Digest 

ADMINISTRATION 

Audio- Visual  Aids:  Some  Suggestions  for  Wartime— Ward 
C.  Boweii,   Chief  of  the   Bureau  of   Radio  and   Visual 
Aids,    New    York    State    Dept.    of    Education — American 
School  Board  Journal,  106:27  March,  1943 
The  war  has  led  to  the  production  of  hundreds  of  new  edu- 
cational   films,    such   as    the   machine-shop    training    subjects, 
those   on   civilian    defense  and    the    like.   But   the   scarcity    of 
new   equipment   and    the   cut    in   raw    film    have    created    new 
problems.  Four  important  procedures  then  are  suggested : 

1.  Make  a   careful    inventory    of   all   audio- visual   materials 

and  equipment  in  the  schools,  with  a  brief  analysis  of 
their  physical  condition. 

2.  Inaugurate  a   program   of  careful   conservation   of  equip- 

ment and  materials.  Thoroughly  clean  and  recondition 
all  useful  items.   Keep  equipment  in  repair. 

3.  Re-examine    the    administrative    procedures.    Is    someone 

specifically  in  charge  of  materials?  Plan  and  supervise 
the  frequent  and  most  efficient  use  of  equipment. 

4.  Learn   to   make    the    most    effective    educational    use    of 

materials  and  equipment  we  now  have — a)  what  are 
our  immediate  educational  objectives?  b)  intelligent 
planning  in  the  light  of  these  objectives;  c)  there 
should  be  a  constant  effort  to  improve  teaching  pro- 
cedures and  techniques. 

5.  Begin  now  for  post-war  purchases. 

Films     in     Western     Teaching — George     Blaisdell — Movie 

.Vakers,  18:53   February,   1943. 

A  testimonial  to  the  activities  going  on  in  Los  Angeles, 
through  such  persons  and  organizations  as  Earl  Swingle, 
in  charge  of  the  film  exchange  in  Los  Angeles  of  the 
Extension  Division  of  the  L^niversity  of  California;  the 
Berkeley  branch  of  this  service;  the  Board  of  Education's 
Visual  Education  Section  in  Los  Angeles  under  Bruce  A. 
Findlay  and  Frank  Reiter;  the  University  of  Southern  Cal- 
ifornia's film  library  in  the  Allan  Hancock  Foundation  for 
Scientific  Research;  Walter  Evans  of  Bell  and  Howell  who 
is  secretary  of  the  Hollywood  Motion  Picture  Forum,  a 
teacher-reviewing  group;  Fred  W.  Orth,  instructor  at  the 
I'niversity  of  Southern  California  and  president  of  the 
Forum,  etc. 

LIBRARIES  AND  VISUAL  AIDS 

"Audio-Visual  and   Other  Aids  to  Learning"— Marguerite 
Kirk,  Helen   Eagle  Glannon,   Edward  Twining  Schofield 
and    Roberta    Bishop    Freund,    Newark,    N.    J. —  (in    The 
Library   in    General   Education,   Yearbook:    1943:    176-218) 
National  Society  for  the  Study  of  Education,  5835  Kim- 
bark  Ave.,  Chicago,  111.  Reprints  available. 
This   section   of   the    Yearbook    surveys   the   entire   field 
of  audio-visual  education  for  the  school  librarian,  pointing 
out  the  ways  m  which  she  can  help  to  assemble,  file  and 
distribute    such    materials   as:    films,    slides,    filmstrips,   flat 
pictures,    maps,    pa-^iphlets,    periodicals    and    newspapers. 
Radio  and  phonograph,  as  well  as  television  are  discussed, 
too.  A  bibliography  is  appended. 

The  authors  summarize  the  activities  of  the  American 
Library  Association  and  cooperating  agencies  in  promoting 
a  greater  use  of  motion  pictures  by  libraries. 

Films    in    Cleveland — R.    Russell    Munn,    director.    Public 
Information   Service,   Cleveland — American   Library   Assn. 
J.         Bulletin,  37  :53  February,  1943. 

Last  September  the  Cleveland  Public  Library  started  a 
lending  collection  of  16mm.  films,  now  comprising  101 
titles.  It  has  been  demonstrated  to  the  complete  satisfac- 
tion of  all  concerned  that  collecting  and  lending  educational 


Conducted    by    ETTA    SCHNEIDER 


films,  free  of  charge,  is  a  logical  development  of  the 
public  library's  function.  The  Board  granted  $1000  to  buy 
a  basic  collection.  There  are  many  films  that  have  been 
placed  without  cost  to  the  library. 

Among  the  users  of  this  service  are  the  Cleveland  Fed- 
eration of  Settlements,  the  Council  for  Inter-American 
Relations,  the  Office  of  Civilian  Defense  and  others.  Films 
are  loaned  free,  but  a  fine  is  charged  of  25c  for  each 
hour  overdue.  Damage  has  been  slight,  but  3  instances 
in  1,110  loans,  and  the  borrowers  have  paid  the  cost.  There 
is  a  full  time  person  in  charge  of  booking  and  inspection, 
with  an  additional  part-time  worker. 

The  main  library  has  a  fortnightly  film  forum,  as  have 
several  branches.  In  three  branches  there  is  a  series  con- 
ducted by  the  Office  for  Service  to  Youth.  Each  week  there 
is  a  noon-hour  film  showing  of  new  subjects  for  the  library 
staff. 

HAND-MADE   SLIDES 

Song  Slides — G.  W.  Leman,  President,  N.  J.  Visual  Edu- 
cation Assn. — Nation's  Schools  31  :52  April,  1943 
An  illustrated  article  on  the  value  of  preparing  original 
slides  that  combine  charming  drawings  with  the  words  of 
songs.  These  lend  much  to  a  successful  community  sing.  The 
author  gives  instructions  for  making  such  slides. 

SCHOOL-MADE  FILMS 

Movies  Make  Friends — F.  Earl  Williams,  Principal,  Gard- 
ner High  School,  Mass. — School  Executive  Magazine,  62:48 
March,   1943 

Suggestions  for  planning  and  making  a  school  public  rela- 
tions film.  A  list  of  35  scenes  is  printed  to  show  the  kinds 
of  activities  included.  Each  teacher  was  asked  to  suggest 
two-minute  sequences  showing  some  characteristic  phases  of 
her  program.  There  are  hints  on  lighting,  as  "Use  all  of  the 
daylight  and  artificial  light  you  can  produce  on  all  inside 
shots.  You  cannot  produce  brilliant  pictures  without  adequate 
lighting." 

Equally  helpful  suggestions  are  given  for  shooting,  editing 
and  titling  the  film.  The  premiere  showing  can  be  held  at  a 
parents'  night.  Another  important  event  is  the  meeting  of  future 
students  in  the  spring.  And  don't  allow  the  film  to  be  shown 
unsupervised ! 

A  chart  of  equipment  recommended  and  stills  from  the  school 
movie  are  included  in  the  article. 

CARTOONS 

Why  Children   Read  the   Comics — Ruth   Strang,   Teachers 

College,    Columbia    University — Elementary  School   Journal, 

43:336-342  February,  1943. 

A  group  of  graduate  students  and  the  writer  undertook 
to  find  out  why  10  to  12  million  copies  of  100  different 
comic-books  are  sold  each  month.  Data  were  obtained  from 
interviews  with  30  children  in  Grades  1-12,  annd  150  written 
reports  from  high  school  and  college  classes. 

Arguments  in  favor  of  comics  are:  1)  they  constitute  a 
kind  of  modern  folklore  corresponding  to  the  Greek  and 
Norse  myths;  2)  they  meet  children's  needs  for  overcom- 
ing, in  imagination,  some  of  the  limitations  of  their  age 
and  ability  and  for  obtaining  a  sense  of  adventure  denied 
them  in  real  life;  3)  to  normal  children  comics  offer  the 
mental  catharsis  which  Aristotle  claimed  for  drama;  4) 
they  supply  to  children  of  limited  reading  ability  a  form 
of  reading  experience  which  is  thoroughly  enjoyable  to 
them;  and  5)  if  the  children  actually  read  the  text 
of  the  comics,  they  will  profit  by  extensive  supplementary 
reading. 

Arguments  against   comics   are:    1)   they  tend   to  crowd 

(Continued  on  page  186) 


Page   174 


The  Educational  Screen 


Social  Changes  in  the  Air  Age— in  Hand-Made  Lantern  Slides 


By    ANN    GALE 

THE  WAR  will  be  won  by  air  power.  Afterwards  there 
will  be  revolutionary  social  changes  because  of  this  develop- 
ment of  aviation.  Children  should  be  aware  of  the  major  al- 
terations which  will  be  made  in  civilian  life.  The  following 
slides  present  some  of  the  more  important  social  changes  which 
will  follow  after  the  war. 

1)  Even  now  for  protection  industry  is  being  de-central- 
ized. This  will  continue  with  planes  available  for  transportation 
of  labor. 

2)  With  new  air  transport  routes,  new  cities  may  rise  in 
importance  and  old  ones  decline.  Urban  growth  will  decline. 
Probably  tall  buildings  will  survive  with  parks  and  play  areas 
around  them. 


Roosevelt  High  School,  Chicago 

3)  Migratory  labor  is  a  great  problem  in  harvesting  many 
crops.  The  airplane  provides  quick  transportation  of  labor  when 
harvest  time  arrives. 

4)  Along  with  railroads,  oil,  steel  and  autos,  aviation  will 
become  one  of  our  great  industries.  The  capital  investment, 
plants  and  labor  requirements  of  such  a  large  industry  will  make 
great  social  changes. 

5)  Aerial  freight  service  will  develop  in  the  near  future. 
The  Germans  used  gliders  successfully  in  Crete  and  Libya. 
Gliders  will  probably  be  used  because  they  will  cut  the  opera- 
tions cost  and  thus  reduce  the  freight  rate. 

6)  Both  small  fool-proof  "flivver"  planes  and  helicopters 
will  be  available  at  low  costs  for  private  flying  after  the  war. 


W3^ 


;^ 


'A 


The  sim- 
plest type 
of  hand- 
made slide 
is  made  by 
drawing  or 
tracing  on 
finely  fin- 
ished etched 
glass  with 
ordinary 
medium  lead 
pencil.  Col- 
or, by  spe- 
cial crayons 
or  inks,  en- 
hances the 
slides  great- 
ly. Fine  ef- 
fects are  ob- 
tained by 
blending 
with  cray- 
ons. About 
one  -  third 
inch  margin 
should  be 
left  all 
around  the 
slide.  The 
slide  is  read- 
ily cleaned 
with  soap  or 
washing 
powder  to 
receive 
a  new  pic- 
ture. 


May,  194} 


Page  175 


The  War  Against  War  Movies 

(Concluded  from  page  163) 

troubles,  under  all  kinds  of  pressures  from  people  who'd 
like  to  keep  the  ideas  of  a  responsible  Ambassador  to 
Russia  locked  tightly  in  the  comparatively  ineffectual 
minds  of  the  five  per  cent  of  the  nation  who  read  books. 

Despite  the  fact  that  Hollywood  is  full  of  talented 
actors  and  writers  who've  been  burning  to  tell  the  world 
the  dangers  of  fascism,  it's  been  a  long,  hard  struggle 
to  get  anti-Fascist  movies  to  the  screen.  The  lid  has 
been  kept  on  tightly  by  the  little  minds  who  are  all  for 
democracy  and  freedom — as  long  as  the  script-writers 
don't  get  too  specific  about  it.  Movies  out  of  Wash- 
ington have  been  a  leak  in  their  censorship.  Over  a 
long  period  of  years  the  friends  of  fascism  in  America 
have  learned  well  the  art  of  applying  the  heat  to  Holly- 
wood. And  their  results  have  been  impressive — a  huge 
majority  of  boy-meets-girl  romances  and  a  brave 
minority  of  thoughtful  movies  keyed  to  the  Year  of 
Our  Lord,  1943. 

But  the  leak  in  Washington  has  presented  them  with 
a  problem.  Accustomed  to  working  in  comparative 
secrecy,  the  little  men  with  the  blue  pencils  now  have 
to  button-hole  Congressn^n.  And  the  sabotage  in  the 
war  of  ideas  has  to  be  achieved  in  comparative  day- 
light. True,  these  Congressmen  don't  have  to  attack 
directly.  They  can  merely  deny  an  appropriation  for 
war  niovies.  Or  they  can  deny  funds  for  so-and-so's 
salary.  But  they've  given  the  game  away.  And  thought- 
ful American  people  concerned  about  this  war  of  ideas 
can  follow  this  play-by-play. 

I  say  Vice  President  W^allace's  Price  of  Victory  is  a 
moving  challenge  to  a  democratic  people,  that  Western 
Front  is  a  stirring  tribute  to  our  allies  in  China,  that 
Manpotver,  Men  and  the  Sea,  Bomber  and  all  the 
others  are  essential  to  civilian  morale  and  essential  to 
the  fighting  unity  which  alone  can  defeat  the  enemy. 

I  say  that  drastic  rationing,  drastic  taxation,  drastic 
bond  drives,  drastic  manpower  restrictions  cannot  be 
achieved  unless  the  American  people  know  what  those 
programs  are  all  about  and  are  convinced  that  the  sys- 
tems involved  are  sound.  I  insist  they  can  get  that  in- 
formation best  through  war  movies. 

There  may  be  some  criticisms,  yes.  There  are  bound 
to  be  a  few  mistakes.  But  I  urge  the  experts  in  the 
movie  field  to  make  their  criticism  a  constructive  sug- 
gestion to  the  agency  involved,  rather  than  grist  for  the 
mill  of  those  who  would  undermine  the  whole  program. 
President  Roosevelt  recognized  quite  clearly  that  this 
■  was  a  war  of  ideas  when  he  enunciated  the  Four  Free- 
doms. Our  whole  war  effort  has  been  keyed  to  the 
idea  that  there  is  nothing  wrong  with  democracy ;  our 
whole  peace  program  to  the  idea  that  we  must  inake 
democracy  work. 

Someone  has  said:  "Public  opinion  is  everything; 
with  it  nothing  can  fail,  without  it  nothing  can  succeed." 
Government  war  movies  must  play  an  increasingly  im- 
portant part  in  the  moulding  of  that  public  opinion. 
Democratic  government  cannot  survive,  if  "films  for 
victory"  become  words  understood  only  by  the  enemy. 


Department  of  Visual  Instruction 

A  Word  to  Members 

The  present  status  of  the  D  V  I — despite  the  endless 
distractions  and  dislocations  of  war  time — should  be 
called  eminently  satisfactory!  The  recent  report  of  the 
Auditing  Committee  shows  the  Department  not  only  safely 
solvent  but  with  a  1942-43  membership  equalling  that  of 
the  best  years  past!  The  foundation  is  already  laid 
for  a  growth  next  year  to  surpass  all  previous  records. 
And  that  growth  can  start  NOW! 

Cancellation  of  the  N  E  .'\  meetings  in  February  and  June 
of  this  year — and  hence  of  regular  concurrent  meet- 
ings of  the  D  V  1 — has  prevented  the  normal  election 
of  D  V  I  Officers  for  1943-44.  By  emergency  action  of 
the  Executive  Committee,  the  present  national  Officers 
are  retained  for  another  year.  The  Zones  may  wish  to 
take  similar  action  in  their  own  elections.  Certainly 
those  who  have  held  the  wheel  steadily  through  the  hectic 
period  just  past  are  best  prepared  to  do  the  steering 
through  the  still   uncertain   period  ahead. 

A    letter   is    on   the    way    to    every    member,    inviting    his 

Renewal  Now 
whatever  his  expiration  date,  past  or  to  come.  Wholesale 
response  will  not  only  give  the  D  V  I  a  running- 
start  for  next  year's  activities  but  permit  another 
year's  membership  at  $2.00  before  the  fee  rises  to  $3.00 
(as  per  action  at  Denver  in  June,  1942). 

Visual  education  is  on  the  march  for  war.  It  will  march 
on,  faster  and  farther,  when  peace  comes.  A  real  future 
looms  ahead  for  the  D  V  I,  if  it  but  keeps  pace  with  the 
forward  march.  Membership  growth  will  do  it.  Nothing 
else  will.  We  must  get  some  real  growing  done  before 
the  peace  comes.     Renew  the  moment  you  get  the  letter. 

Summer  Courses  in  Audio- Visual  Instruction 

{Supplementing   April   listing) 

California 

San  Jose  College,  San  Jose  June  29-Aug.  7 

Workshop  in  Elem.  Education  (3  to  9)  Visual  Aids 
stressed  in  curriculum  courses  Harry  T.  Jensen 

Illinois 

University  of  Chicago.  Chicago  July  12-Aug.  21 

Auditory  and  Visual  Instruction  (2'/4  or  S)     A.  VanderMeer 

Maryland 

University  of  Maryland,  College  Park  July  l-.Aug.  14 

Visual  Education   (3  qr.)  Henry  Brechbill 

Michigan 
Michigan  State  College  of  Agriculture  and 

Applied  Sciences.  East  Lansing  June  21-July  30 

Material  Aids  to  Learning  (2)  Carl  W.  Dalrymple 

New  York 
St.  Laurence  University,  Canton  June  28-Aug.  6 

Workshop  in  Audio-Visual  Aids  (4)         Harold  E.  Speight 
Pennsylvania 
Hucknell   University,  Lewisburg  June  21-July  30 

Visual  Education  (2)  John  W.  Rice 

Drexel  Institute  of  Technology.  Philadelphia      June  28-July  16 

Visual  Education  for  Home  PLconomics  (3  qr.)  Prof  Ebersole 
Maryzvood  College.  Scranton  June  26-Aug.  4 

Audio-Visual  Aids  to  Teaching   (2)  ;   Motion 

Picture  .Appreciation  (1)  Sister  M.  Sylvia 

Temple  University.  Philadelphia  June  28-Aug.  6 

Audio-Visual  Education  I  and  II  (2  each)     Blair  E.  Daniels 
Waynesburg  College,  Waynesburg,  June  7-July  16 

Visual  Education  (3)  Harry  Gardner 

Washington 
Seattle  Pacific  College,  Seattle  July  19-Aug  19 

The  Educational  Motion  Picture  (2^4  qr.)     J.  Wesley  Crum 
University  of  Washington.  Seattle  June  16-July  23; 

July  26-Aug.  27 

Auditory  and  Visual  Aids  to  Teaching  (2J4)     Alice  Hayden 


Page   176 


The  Educational  Screen 


SCHOOL  MADE  MOTION  PICTURES 


By    HARDY    R.    FINCH 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 

Nebraska  School  Films  Activities 

An  enthusiastic  account  of  a  public  relations  film  ap- 
peared in  a  recent  issue  of  The  Nebraska  Educational 
Journal.  Because  it  tells  how  a  film  of  this  type  may 
be  made  on  three  hundred  feet  of  16mm.  color  film, 
portions  of  the  article  by  W.  J.  Frenzel  of  Holdrege, 
Nebraska,  are  quoted  below.  Mr.  Frenzel's  account 
follows : 

WE  filmed  a  movie !  Yes,  and  it  was  fun.  Many  were 
the  laughs,  moments  of  anxiety,  and  even  of  dis- 
tress. But  make  a  movie  we  did — 300  feet  of  action  in 
color  of  regular  school  activities.  It  was  decided  to 
do  something  dilTerent — something  to  acquaint  the 
public  with  school  activities  in  such  a  way  that  the 
school  was  brought  to  our  patrons.  One  of  the  teachers 
suggested  a  short  movie  of  school  activities.  Her  argu- 
ment stressed  the  permanency  of  the  project.  The 
novelty  of  such  an  attempt  appealed.  All  teachers  then 
entered  into  the  spirit  of  the  project  and  each  assumed 
an  active  responsibility.  Each  teacher  planned  grade 
activities  which  her  class  might  demonstrate. 

A  local  camera  enthusiast  contributed  time  and 
camera.  A  photographer  loaned  photo  flood  lamps. 
The  scenario  was  written  by  a  committee  of  teachers. 
Objectives  set  up  for  the  project  were  divided  into  two 
groups :  namely,  teachers'  and  pupils'.  The  teachers' 
objectives  were : 

(1)  To  furnish  the  public  evidence  of  actual  class- 
room activities. 

(2)  To  utilize  various  class  possibilities  in  dramati- 
zations by  the  pupils. 

(3)  To  instill  knowledge  of  "behind  the  scenes" 
movies  in  the  pupils. 

(4)  To  set  up  learning  about  the  profession  of  pho- 
tography. 

(5)  To  publicize  the  school. 
The  pupils  desired : 

(1)  To  learn  fundamentals  of  filming. 

(2)  To  learn  about  photography. 

(3)  To  "act"  in  movies. 

Rehearsal  of  each  "skit"  before  actual  filming  made 
it  possible  to  check  time  and  film  footage  in  order  to 
utilize  every  bit  of  "space"  allotted  to  each  scene.  To 
give  sequence  to  the  film,  a  visitor,  Mrs.  Anderson,  ac- 
companied her  son  Bobbie  to  school.  There  Mrs.  An- 
derson sees  .  .  . 

(1)  Playground  activities  under  supervision,  includ- 
ing safety  in  play. 

(2)  Second  grade  reading  seatwork,  health  inspection 
by  the  school  nurse,  and  individual  free  activities. 

(3)  Reading  activities  and  playing  store  in  the  first 
grade. 

(4)  Group  singing,  rhythms,  playing  house,  and  in- 
dividual mental  recreations  by  the  kindergartners. 

(5)  In  grade  three,  a  library  project  with  a  real  ex- 
cursion to  the  public  library. 


With  a  question  box  on  the  making  of 
school  film  productions,  conducted  by 

DONALD   A.    ELDRIDGE, 
Wesleyan  University,  Middletown,  Conn. 


(6)  In  the  fourth  grade,  the  preparation  of  a  health 
food  (chocolate  pudding),  and  editing  and  printing  their 
monthly  paper. 

(7)  Various  interesting  methods  of  studying  a  geog- 
raphy unit  in  grade  five. 

(8)  In  the  sixth  grade  a  study  period  in  which  refer- 
ence material  was  used  and  in  which  students  who 
finished  early  occupied  their  spare  time  in  room  duties. 

(9)  The  girls'  gym  class  demonstrating  a  folk  dance 
and  a  healthful  exercise. 

(10)  A  general  assembly,  in  which  the  student  pro- 
gram consisted  of  the  flag  pledge,  singing  by  the  school 
chorus  in  their  white  robes,  and  exhibitions  by  the  boys' 
gym  class.  Thus,  some  activity  of  every  grade  or  group 
was  included  in  the  film. 

After  the  filming,  began  the  editing,  the  developing, 
the  splicing,  and  then  the  film  was  completed.  To  add 
to  the  eflfectiveness  of  the  production,  a  coinmentary 
was  written  to  be  included  during  the  projection  of  the 
film.  This  is  given  by  means  of  a  luicrophone  and  loud- 
speaker attachment  to  the  projector. 

Students  and  patrons  alike  have  asked  for  repeated 
showings.  So,  we  have  accompli.shed  what  we  set  out 
to  do — to  bring  to  the  public,  in  a  dramatic  manner, 
some  of  the  things  that  are  being  done  in  a  modern 
school.  The  cost  was  nominal  and  many  people  now 
know  what  is  going  on  in  an  elementary  school  today. 

QUESTION  BOX  ON  SCHOOL  FILM  PRODUCTION 

Question:  How  can  we  provide  for  smooth  tran- 
sitions between  scenes  in  our  films?  We  know  how  the 
fade-out,  fade-in.  wipe,  and  dissolve  are  used  by  pro- 
fessionals, but  we  understand  that  most  such  effects  are 
produced  in  the  laboratory  and  we  cannot  afford  this 
expense.  Is  there  some  way  we  can  accomplish  this 
with  a  minimum  of  cost  and  labor  with  a  camera  that  is 
not  equipped  with  special  attachments? 

Answer:  The  facie,  wipe,  and  dissolve  are  indeed  the 
three  chief  transition  devices,  and  you  are  correct  in  assuming 
that  in  Hollywood,  at  least,  most  of  these  are  achieved  by 
laboratory  processes.  As  in  so  many  things,  the  amateur, 
particularly  the  amateur  of  limited  financial  resources,  must 
improvise. 

A  useful  gadget  is  a  fade-out  device  which  may  be  pur- 
chased to  fit  any  camera.  This  simply  provides  a  means  of 
gradually  decreasing  the  exposure  until  the  light  is  completely 
excluded.  This  fade-out  effect  can  be  improvised  without  any 
attachment,  however,  by  gradually  closing  the  diaphragm  of 
your  lens.  If  the  subject  is  very  bright,  so  that  there  will 
still  be  an  image  even  with  the  diaphragm  at  the  smallest 
opening,  it  is  necessary  to  finish  the  fade  by  covering  the 
lens  with  a  piece  of  dark  cardboard  to  effect  a  completf: 
black-out.  When  a  tripod  is  used — as  it  should  be  under  all 
circumstances — this  is  easy  to  do  smoothly  with  a  little 
practice. 

A  fade-in  can  be  accomplished  by  reversing  the  process ; 
i.e.,  start  with  the  lens  covered,  remove  the  covering  gradu- 
ally,   meanwhile    opening    your    diaphragm    to    the    point    of 

(Concluded  on  page  178) 


May,   194} 


Page   177 


A  TIP  FROM  THE  WORLD'S  N0.1  TEACHER 


No  educational  program  in  history  has  been  so  vast,  so 
complicated,— or  so  successful— as  that  now  being  carried 
on  by  the  United  States  Army.  It  has  truly  become  the 
World's  No.  1  teacher— No.  1  in  size,  No.  1  in  scope,  No. 
1  in  importance. 

What  does  this  mighty  and  modem  teacher  say  about 
audio-visual  aids?  The  answer  is  found  in  the  fact  that  in 
every  training  center  in  the  country,  audio-visual  aids  are 
employed.  Literally  millions  of  "students"  have  had  more 
thorough,  more  interesting,  more  effective  training  be- 
cause of  their  use.  In  many  cases,  training  time  has  been 
reduced  by  as  much  as  40%,\ 

In  the  words  of  the  Basic  Field  Manual,  audio-visual 
aids  "teach  through  the  eye  and  ear  combined,  and  by 
thus  utilizing  two  of  the  physical  senses  compel  interest 
and  impress  a  lasting  picture  of  the  lesson  or  lessons 
presented." 

When  peace  returns,  and  RCA  Audio-Visual  equip- 
ment is  again  available  for  America's  schools,  you  will 
undoubtedly  want  to  make  them  an  integral  part  of  your 


teaching  procedure.  The  time  to  prepare  for  that  is  now. 
There  are  many  steps  you  can  take  today,  to  make  sure 
you  will  derive  the  maximum  benefits  from  audio-visual 
aids  when  you  finally  obtain  them. 

To  this  end,  RCA  offers  its  Advisory  Service 
to  all  teachers,  supervisors,  and  school  adminis- 
trators, without  charge  or  obligation.  Clip  this 
coupon  for  complete  and  timely  information 
about  this  important  educational  development. 


Educational  Department 
RCA  Victor  Division 
Radio  Corporation  of  America 
Camden,  New  Jersey 

Please  send  me  information  concerning  provisions  to  be  made  for 
the  use  of  Radio  Sound  Systems  Q,  Sound  Amplifying  Equip- 
ment n,  Motion  Picture  Projectors  □,  Recording  Equipment  □, 
Radio  Receivers  □,  Phonographs  □,  Victor  Records  □. 

Name 


Schoof- 


RCA  Victor  Division  •  Educotional  Department 

RADIO  CORPORATION  OF  AMERICA 

Camden,  N.  J. 


Page    178 


The  Educational  Screen 


BRING  WORLD  BATTLEFIELDS  to 
LIFE   in    YOUR    CLASSROOMS.. 


With  all  the  moving  drama  of  **on  the 
spot"  reality.  Father  Hubbard's  "World 
War  ir*  Sound  Films  add  lively  fascination 
to  classroom  studies  of  far-off  places  and 
peoples  in  the  news  today.  Authentic,  en- 
tertaining, stimulating.  Over  170  colorful 
subjects,  recorded  in  16  mm  Sound*  10,  12. 
30  and  45-minute  showing:s.  Low  Rental 
Kates. 


it  Write  for  DescripliTe  Cal- 
aloi  ind  Renl.r  Rites. 


W>r  Information  Films. 

FATHER  HUBBARD  EDUCATIONAL  FILMS 

Dept   E.,   188  W.   Randolph  St.,  Chicago,   III.,   or  Santa  Clara,  Calif. 


current  exposure.  Producing  a  fade-in  by  this  method  is  more 
difficult  than  producing  a  fade-out,  for  on  many  lenses  the 
exposure  marking  cannot  be  read  easily  while  the  camera  is 
in  shooting  position.   Nevertheless,  it  can  be  done. 

An  improvised  dissolve  is  more  complicated.  The  only  way 
we  know  of  to  do  this  with  a  camera  not  equipped  with  a 
re-wind  for  the  film  is  to  open  the  camera  and  rewind  the 
film  the  proper  distance  by  hand  in  a  dark  room.  (.\  "lap 
dissolve"  is  really  nothing  more  than  a  fade-in  superimposed 
over  a  fade-out.)  The  trick  is  to  estimate  the  proper  footage 
for  the  fade-in,  for  the  fade-out,  and  for  the  overlap.  Usually 
each  fade  for  a  dissolve  is  about  two  feet  in  length,  with 
an  over-lap  of  one  foot  of  film.  A  slower  or  more  rapid 
dissolve  can  be  made  by  lengthening  the  footage.  It  is  essen- 
tial, of  course,  that  the  fade-in  on  the  second  scene  start  while 
the  picture  of  the  preceding  scene  is  still  visible — neither 
the  fade-in  nor  the  fade-out  appears  to  be  complete,  for  both 
scenes  are  visible  through  the  dissolve. 

A  variation  on  this  is  to  change  the  focus  so  that  one  scene 
"blurs"  into  the  next.  This  cannot  be  done  with  a  fixed 
focus  lens,  of  course.  Again,  the  proper  amount  of  film  must 
be  rewound.  A  little  practice  will  show  you  better  than  any 
written   instructions   how  to  estimate  the   footage. 

Some  people  have  successfully  used  a  small  portable 
"hand  dark-room" — a  box  equipped  on  one  side  with  layers 
of  dark  cloth  covering,  or  with  two  arm-holes,  which  is  large 
enough  to  hold  the  camera  and  provide  space  for  re-winding 
the  film.  The  camera  is  opened  and  the  film  rewound  in  this 
box.  This  is  entirely  the  "touch  system"  and  is  rather  awk- 
ward, but  for  work  in  the  field  where  no  dark  rooms  are 
available  it  is  about  the  only  solution.  Practice  will  overcome 
the  awkwardness. 

The  wipe  effects  can  be  produced  after  the  film  is  developed 
by  means  of  cellulose  tape  or  by  an  opaque  ink  or  dye  which 
is  applied  directly  to  the  film,  (Fades  can  also  be  made  by 
skillful  use  of  the  latter.)  .\  quite  successful  improvised  wipe 
efTect  can  be  produced  with  the  greatest  of  ease,  by  simply 
sliding  a  piece  of  dark  cardboard  across  the  face  of  the  lens. 
This  movement  can  be  in  any  direction — from  the  top  down 
to  produce  a  curtain  effect,  horizontally,  or  diagonally.  The 
"wipe-off"  is  produced  by  starting  with  the  lens  completely 
covered,  and  then  sliding  the  covering  off.  It  is  important 
to  remember  to  make  the  movement  of  the  dark  shadow  so 
produced  follow  logically  in  succeeding  scenes.  For  example, 
if  your  "wipe  on"  is  from  the  top  down  (effect  of  a  curtain 
dropping  over  the  scene)  your  succeeding  shot  might  have 
the  wipe  move  up  (effect  of  a  curtain  rising  to  reveal  the 
scene).  On  the  other  hand,  if  your  wipe  comes  from  left  to 
right,  the  next  scene  should  have  the  shadow  continue  in 
the  same  direction,  giving  the  impression  that  one  scene 
pushed  the  next  one  into  place,  or  rather,  that  the  shadow- 
pushed  one  scene  off,  meanwhile  pulling  the  next  one  on. 

How,  you  may  ask,  does  one  know  when  to  include  such 
effects  while  shooting  a  picture?  How  can  one  anticipate  just 
what  scenes  he  will  use  for  such  transitions?  The  answer  is 
easy.  Remember  that  you  can  always  cut  out  such  transitions 
when  you  edit,  so  include  such  fade-in  fade-out  combination 
dissolve,    or   wipe    whenever    you    think  there   is   a    possibility 


Experimental  Research 

in  Audio- Visual  Education 

By  DAVID  GOODMAN.  Ph.D. 

Title:    AUDIO-VISUAL    AIDS    IN    THE    TEACHING 

OF  THE  SOCIAL  STUDIES 
Investigator:  H.  E.  He.xdlev 

For  the  degree  of  Master  of  Education — completed  July, 
1942 — University   of    Ohio. 

Purpose 

The  purpose  of  this  study  is  to  aid  in  correcting  misinter- 
pretations connected  with  the  use  of  audio-visual  aids  by 
examining  those  aids  best  suited  to  the  teaching  of  the  social 
studies,  and  by  emphasizing  their  value  and  use  on  the  basis 
of  modern  ideas  of  education  and  the  psychological  principles 
underlying  their  use. 

Procedure 

A  survey  of  the  views  of  educational  experts  concerned 
with  the  use  of  these  aids  was  made  in  the  fields  of  audio- 
visual instruction  and  the  social  studies.  Questionnaires  were 
sent  to  teachers  of  the  social  studies  in  the  Licking  County 
Schools  in  regard  to  equipment,  use,  and  teaching  meth.ods. 
A  study  was  made  of  the  work  of  the  visual  instruction 
departments  of  Ohio,  the  National  Education  Association,  and 
the  United  States  Office  of  Education. 

The  wide  range  of  subject  matter  in  the  social  studies 
provides  a  fertile  field  for  the  use  of  audio-visual  aids,  and 
at  the  same  time  creates  problems  for  the  teachers  interested 
in  their  use.  These  problems  concern  adjusting  the  aids  to 
the  curriculum,  to  the  course  of  study,  and  to  the  objectives 
of  the  unit ;  adapting  the  aids  to  the  different  states  of  mental 
development ;  correlating  the  aids  with  other  teaching  materials  ; 
evaluating  the  aids  in  regard  to  their  effectiveness  in  the 
teaching  situation ;  and  determining  the  use  for  which  each 
aid  is  best  suited.  A  study  of  the  questionnaire  results  shows 
the  need  for  teachers  to  form  more  definite  philosophies  of 
education  and  of  teaching  the  social  studies,  and  to  secure  a 
more  thorough  understanding  of  the  purpose  of  audio-visual 
aids  in  order  to  furnish  a  sound  basis  for  their  use. 

Result 

The  foremost  needs  in  the  use  of  audio-visual  aids  in  the 
teaching  of  the  social  studies  and  the  other  fields  of  study 
are :  teacher  training  in  the  use  of  the  aids,  centralization  of 
materials  and  equipment  in  places  most  convenient  for  teachers, 
securing  of  equipment  which  at  present  seems  too  expensive 
for  the  smaller  schools,  and  the  formation  of  clear,  valid  objec- 
tives in  each  subject-matter  area  to  aid  producers  in  making 
equipment.  As  in  any  new  movement,  these  problems  are  but 
a  challenge  to  the  teacher  who  is  ambitious  toward  the  im- 
provement of  teaching  in  the  modern  school. 


that  it  may  be  desired  later  as  a  transition  point.  This  gives 
you  a  selection  from  which  to  choose  the  most  effective.  For 
example,  in  photographing  travel  films,  the  writer  always  makes 
a  number  of  fade-ins  on  scenes  which  he  thinks  might  make 
a  good  introduction  to  a  sequence  of  shots.  Then  he  selects  one 
of  these,  keeps  it  for  his  opening,  and  discards  the  rest  by 
simply  cutting  out  the  "darkness."  Similarly,  several  fade- 
outs  are  made  on  possible  concluding  scenes. 

One  more  suggestion.  Occasionally,  in  spite  of  attempted 
anticipation  of  the  need  of  transitions,  there  will  be  a  place 
where  you  feel  something  is  needed  to  make  the  break  less 
abrupt.  Sometimes  a  short  piece  of  "darkness"  (one  of  your 
unused  fades,  perhaps)  can  be  inserted  to  accomplish  this  with 
reasonable  effectiveness.  The  casual  observer  will  usually 
accept  this  unconsciously  as  a  fade,  and  it  will  be  less  disturb- 
ing than  the  abrupt  shift  of  scene  would  be. 

.Admittedly,  the  best  way  to  produce  such  transitions  is  toj 
use  a  camera  equipped  with  features  designed  for  the  pur- 
pose. The  substitute  measures  suggested  above  can  be  made! 
to  accomplish  results  that  are  almost  as  effective,  and  muchj 
more  feasible  for  the  average  movie  maker  of  limited  financialj 
means. 


May,   1943 


Page  179 


KEYSTONE 
AIRCRAFT  RECOGIVITIOX  SERIES 


iVo.  41  from  Series 
Boeing  B-17E  ^'^Flying  Fortress''   (U.S.) 

W — Low;  leading  and  trailing  edges  tapered,  with  round  tips;  dihedral;  full 
cantilever. 

E — Four;  radial;  Wright  Cyclones. 

F — Very  long;  round;  bombardier's  nose  blister  resembles  eyes  and  mouth  of 
a  fish. 

T — Dorsal  fin;   tail  gunner's  blister  behind  fin;  single. 

O — Gun  turret  on  top  of  fuselage  aft  of  cockpit;  turret  under  fuselage  aft  of 
wings;  wheels  do  not  completely  retract;  nacelles  of  outer  engines  are 
shorter  than  those  of  inside  engines. 

Authentic— Usable— IJp-tO'Date 

May  be  used  >vith  or  without  Flashmeler,  but  Flashmeter  techniques  are 

recommended. 

Sample  pages  from  the  Teachers'  Manual   will   be  sent  upon    request. 

Keystone   View  Company 

Meadville.    Penna. 


Page   180 


The  Educational  Screen 


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Send  for  new  Catalog  of  approximately  3000  Entertainment 
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Educational  Film  Library  Association  Organized 

Bridging  the  gap  between  the  knowledge  of  speciaHsts 
and  the  knowledge  of  both  students  and  the  general 
public,  is  the  chief  purpose  of  a  group  of  educators  who 
have  just  formed  the  Educational  Film  Library  Asso- 
ciation, Inc.  The  founding  of  a  permanent  organiza- 
tion follows  a  year  of  consultations  and  joint  activity 
by  a  committee  representing  a  hundred  and  twenty-two 
university,  college  and  state  educational  film  libraries. 
Public  schools,  public  libraries  and  museums  are  in- 
cluded in  the  membership  of  the  new  organization. 

A  temporary  organization,  the  Educational  Film 
Lending  Library  Committee,  from  which  the  permanent 
association  has  grown,  was  created  in  March,  1942,  to 
aid  the  Government  in  securing  the  widest  possible  dis- 
tribution of  war  information,  civilian  morale  and  train- 
ing films.  With  the  assistance  of  this  committee,  films 
from  the  Coordinator  of  Inter-American  Aflfairs  and 
the  Office  of  War  Information  were  deposited  with 
sixty  educational  film  libraries  for  circulation  among 
schools,  colleges  and  adult  groups.  To  increase  the 
effectiveness  of  war  films  the  committee  prepared  a 
broad  plan  for  their  distribution  and  utilization. 

The  committee  meanwhile  received  many  requests 
from  educational  institutions  to  broaden  its  base  to  in- 
clude representation  of  all  interested  universities  and  col- 
leges, state,  county  and  city  school  systems,  public  li- 
braries and  museums,  and  to  expand  its  activities  to  in- 
clude a  general  program  for  the  promotion  of  the  produc- 
tion, distribution  and  utilization  of  audio-visual  aids  in 
education.  A  memorandum  along  these  lines,  prepared 
in  November,  1942.  by  L.  C.  Larson,  Chairman  of  the 
committee,  was  modified  and  developed  through  the  par- 
ticipation of  prospective  members  and  approved  by 
them  in  January,  1943.  A  constitution  was  drafted 
and  unanimously  endorsed  by  interested  members,  and 
in  March  a  board  of  directors  was  elected  to  serve  until 
the  first  annual  meeting. 

The  new  association  will  continue  to  act  as  liaison 
between  educational  film  libraries  and  government 
agencies  producing  films.  Other  activities  projected 
by  the  association  are  the  maintenance  of  a  central  refer- 
ence service,  a  clearing  house  for  films  and  other  audio- 
visual aids  available  from  producers  who  are  without  a 
distributing  organization,  a  center  for  the  exchange  of 
experience  in  the  administration  of  audio-visual  pro- 
grams and  the  preparation  of  bibliographies,  books,  and 
pamphlets. 

The  association  has  designated  "Film  News,"  an 
established  magazine  in  the  field  of  educational  films  as 
its  official  journal. 

On  the  Board  of  Directors,  elected  to  serve 
until  the  first  annual  meeting,  are  the  following:  L.  C. 
Larson,  Indiana  University,  Chairman ;  Bruce  A.  Find- 
lay,  Los  Angeles  City  Schools,  Vice-Chairman ;  R. 
Russell  Munn,  Cleveland  Public  Library,  Secretary; 
B.  A.  Aughinbaugh,  Ohio  State  Department  of  Educa- 
tion ;  Thomas  L.  Broadbent,  Brigham  Young  Univer- 
sity ;  James  S.  Kinder,  Pennsylvania  College  for 
Women ;  Margaret  Kirk,  Newark  City  Schools ;  H.  L. 


May,  194} 


Page   181 


■Afot 


-E± 


Kooser,  Iowa  State  College ;  and  George  B.  Zehmer, 
University  of  Virginia. 

The  American  Film  Center  of  45  Rockefeller  Plaza, 
New  York  City,  a  member  of  the  American  Council  on 
Education,  will  serve  as  the  administrative  office  of  the 
Association,  and  Donald  Slesinger,  Director  of  the  Am- 
erican Film  Center,  will  serve  as  Acting  Administrative 
Director. 

The  constitution  provides  for  five  classes  of  member- 
ship— Constituent,  Associate,  International,  Service, 
and  Personal,  as  defined  below : 

a.  Constituent  Members — This  group  shall  consist  of  tlie  in- 
dividual or  institutional  representative  of  the  film  library 
from  each  university,  college,  or  other  institution  or  agency 
of  similar  grade  or  purpose,  approved  for  such  membership 
by  the  Board  of  Directors,  that  maintains  a  film  lending 
library  authorized  to  serve  all  educational  and  adult  groups 
who  wish  to  take  advantage  of  the  service.  Dues,  $10.00  to 
$50.00  according  to  size  of  library, 
d.  Sen'ice  Members — This  group  shall  consist  of  individuals 
vidual  or  agency  representative  or  supervisor  of  a  function- 
ing program  of  audio-visual  aids  from  each  state  department 
of  education;  city  or  county  school  system;  public  library  or 
museum;  or  other  non-commercial,  non-profit  educational 
institution  or  agency  authorized  to  serve  special  or  limited 
groups,  which  shall  be  approved  by  the  Board  of  Directors 
for  such  membership.  Dues,  $5.00  to  $35.00  according  to 
size  of  library. 

c.  International  Members — This  group  shall  consist  of  an  ac- 
credited representative  from  each  non-profit  and  non-com- 
mercial society  or  association  located  outside  of  the  United 
States  and  its  territorial  possessions,  approved  for  such 
membership  by  the  Board  of  Directors,  whose  chief  object 
is  the  promotion  of  the  use  of  audio-visual  aids  for  educa- 
tional purposes.    Dues,  $10.00. 

d.  Service  Members — This  group  shall  consist  of  individuals 
or  organizations  who  wish  to  receive  information  on  plan- 
ning of  audio-visual  programs  other  than  those  contained  in 
the  pre-arranged  series.    Dues,  $10.00. 

e.  Personal  Members — This  group  shall  consist  of  individuals 
or  organizations  who  wish  to  receive  the  proceedings  of 
annual  meetings  and  to  enjoy  other  privileges,  authorized 
by  voting  members  of  the  Association.     Dues,  $2.00. 

The  membership  and  fiscal  year  shall  run  from  September 
first  of  any  year  through  August  thirty-first  of  the  year  immedi- 
ately succeeding. 

Red  Cross  Brings  Films  to  Army  Hospitals 

Hollywood  first-run  pictures  are  being  brought  to 
patients  in  U.S.  Army  hospitals  in  a  new  program 
introduced  by  the  American  Red  Cross.  Part  of  the 
Red  Cross  hospital  motion  picture  service,  this  new 
project  will,  for  the  first  timie,  bring  16  millimeter  first- 
run  movies  to  bed  patient  audiences  in  military  hospitals 
on  a  nation-wide  scale.  The  Red  Cross  has  been  granted 
the  right  to  purchase  400  16mm  projectors  for  use  in 
their  film  showings  to  hospitalized  service  men  at  home 
and  on  the  fighting  fronts.  The  16mm.  machines  have 
been  ordered  so  that  screenings  may  be  held  in  wards, 
for  bed-ridden  patients  and  for  further  use  where  hos- 
pitals do  not  carry  35mm.  equipment. 

The  Red  Cross  now  operates  the  third  largest  motion 
picture  chain  in  the  United  States,  serving  158  circuits 
with  35mm.  film  programs  in  hospital  auditoriums.  It 
is  estimated  that  before  the  end  of  this  year,  the  hos- 
pital ward  circuits  will  cover  more  than  350  hospitals. 

Motion  picture  producers  cooperating  with  the  Red 


y  THOUSAND 


,0f/frm  com/ir 

INC. 


v-:.K 


\.  ^^ 


Synopiif  of  th*  PIcturat 

This  picture  opens  with  a 
scene  showing  a  typical 
neighborhood  group  of  boys 
of  high  school  age.  They  have 
their  own  shop  in  a  garage 
where  they  "experiment"  and 
build. 

In  the  course  of  the  pic- 
ture a  pilot  inspires  the  bioys 
with  an  interesting  explana- 
tion of  the  background  in  the 
sciences,  necessary  to  pilot 
training.  Then  he  shows  now 
the  "radio  beam"  operates. 
The  explanation  of  the  radio 
beam  is  illustrated  by  scenes 
of  actual  flying. 

As  the  picture  ends,  the  boy 
in  the  group  who  wants  to  be 
a  pilot  has  decided  that  "such 
unnecessary  stuff  as  mathemat- 
ics" is  essential. 

Curriculum  Suggattleni: 

1.  Elementary  schools— All 
classes,  especially  science 
and  mathematics — General 
use  as  an  inspirational  pic- 
ture to  help  "air  condition" 
the  curriculum. 

2.  Secondary  schools  —  All 
classes,  especially  science 
and  mathematics — General 
use  as  an  inspirational  pic- 
ture to  help  "air  condition" 
the  curriculum. 

3.  Vocational  guidance. 

4.  Teachers'  colleges  to  show 
value  of  inspiration  in 
teaching. 

Recommended  Uiest 

This  is  a  picture  of  high  in- 
spirational value.  It  is  esthet- 
ically  and  psychologically 
correct.  It  can  be  used  as  a 
reminder  of  the  value  of  in- 
spiration in  the  learning 
process  and  to  stimulate  the 
students'  interest  in  studying 
basic  subjects. 

PRICES  $36.50,  f.o.b.  Detroit. 
LENGTH:   One   reel,    16   mm, 
sound,  safety  stock. 
Wrfta  for  comp/*f«  catalog  or  torn 
an   Avthorizmd    Vhuat   Aids   D^al^r 


ne  JAM  HANDY  Organization 


NEW  YORK 
CHICAGO      . 


DETROIT     •     LOS  ANGELES 
DAYTON       •      WASHINGTON 


Page    182 


The  Educational  Screen 


Cross  in  making  their  product  available  in  16mm.  show- 
ings from  thirty  to  sixty  days  after  the  national  release 
date,  are  20th-century  Fox,  Paramount,  R.K.O.  and 
Universal. 

Bookings  will  be  handled  at  Red  Cross  national  head- 
quarters in  Washington,  and  films  will  be  distributed  to 
the  circuits  from  six  main  exchange  cities  situated 
at  key  points  throughout  the  country.  The  program 
will  operate  under  the  immediate  supervision  of  the 
four  area  directors  of  the  American  Red  Cross.  The 
Red  Cross  recreation  stafT  of  each  hospital  will  arrange 
for  showings  in  cooperation  with  medical  officers  and 
hospital  staffs.  Projectionists,  in  most  cases,  will  be 
enlisted  men,  trained  in  all  phases  of  motion  picture 
operation  and  detailed  to  Red  Cross  service. 

Pennsylvania  Defense  Film  Committee 

At  the  invitation  of  the  State  Council  of  Defense, 
eight  colleges  located  in  different  areas  of  the  state  have 
organized  a  Pennsylvania  Civilian  Defense  Film  Com- 
mittee and  agreed  to  take  over  the  distribution  of  all 
OCD  training  films.  The  college  film  libraries  which 
are  represented  on  this  committee  are :  Bucknell  Uni- 
versity, Pennsylvania  State  College,  Pennsylvania  Col- 
lege for  Women,  and  the  State  Teachers  Colleges  at 
Kutztown,  Millersville,  Shippensburg,  Indiana,  and 
Clarion.  The  State  Council  of  Defense  will  allocate 
among  these  participating  colleges  the  20  prints  of  each 
OCD  training  film  which  it  receives.  The  established 
service  charge  of  50  cents  for  government  films  will  be 
paid  to  the  college  by  the  borrower. 

County  Councils  of  Defense  will  request  bookings  for 
their  entire  county  and  will  designate  one  person  re- 
sponsible for  film  bookings  who  will  contact  the  college 
film  library  serving  his  area.  Announcements  of  new 
films  available  will  be  made  to  all  County  Councils  of 
Defense  by  the  State  Council. 

Chairman  of  the  Pennsylvania  Civilian  Defense  Film 
Committee  is  Mary  A.  Kunkel  of  Bucknell  University. 
Other  members  are:  I.  C.  Boerlin  (Penn  State),  L.  C. 
Krebs  (Shippensburg),  A.  F.  Bubeck  (Kutztown)  H. 
S.  Manson  (Clarion),  J.  S.  Kinder  (PCW),  Wilber 
Emmert  (Indiana),  and  a  representative  of  Millers- 
ville STC. 

Films  on  Belgiimi 

The  Belgian  Information  Center,  630  Fifth  Avenue, 
New  York,  have  a  collection  of  films  on  the  art  and 
culture  of  pre-war  Belgium  which  afTord  fine  material 
for  groups  wishing  to  arrange  "Know  Your  Allies" 
programs,  and  will  be  glad  to  assist  in  the  planning  of 
such  film  projects.  These  films  were  presented  at  the 
New  York  World's  Fair,  1939-40,  where  they  received 
enthusiastic  acclaim.  Other  pictures  depict  the  actual 
war  effort  of  Belgium — troops  training  in  England, 
Congo  ships  unloading  cargos  in  allied  ports,  the  Bel- 
gian army  fighting  in  Ethiopia,  and  work  of  refugee 
fishermen  in  England. 

Titles  of  films  available  in  16mm  and  35mm  sound 
are:  Albert  Canal,  Art  and  Lije  in  Belgium,  Belgian 
Flag  Saved  from  Enemy  Hands,  Flanders,  Glimpses 
of  Belgium,  Holidays,  Little  Belgium,  Memling,  Mystic 
Lamb,  Roads  in  Summer,  Various  Aspects  oj  the  Bel- 
gian War  Effort. 


"The  Power  of  God" — Film  Review 

Here  is  a  non-sectarian  "religious  film"  that  deserves  the 
name.  In  technique  it  is  excellent,  with  acting  and  settings 
of  the  best,  but  as  to  content  its  appeal  may  be  limited.  The 
story  makes  no  concessions  to  modernity  or  scepticism.  It 
presents  what  many  would  call  "old  time"  religion  with 
Utter  confidence  that  its  potency  is  as  great  as  ever  in  human 
life. 

The  simple  human  story  is  laid  in  the  typical  American 
small  town  where  religion  really  functions  in  daily  life, 
not  merely  at  church  on  Sunday.  Church  activities  are 
prominent,  to  be  sure,  but  the  power  of  the  spirit  moves 
abroad  in  the  fields,  the  streets,  the  offices,  the  homes.  There 
are  those  indeed  who  are  not  of  the  fold — the  sceptical 
doctor,  the  hard-fisted  banker,  the  stern  judge,  the  boy  of 
a  good  home  who  nevertheless,  in  a  moment  of  moral 
blankness,  steals  a  car.  But  the  power  of  God,  dominant 
in  the  community  life  and  personified  in  the  ardent  Christian, 
Jonathan,  gradually  and  irresistibly  wins  over  all. 

There  are  memorable  moments  of  dramatic  intensity  when 
deep  feeling,  earnest  purpose,  and  devout  faith,  struggle 
against  cynicism,  hard-heartedness,  and  inhumanity.  The 
unmistakable  sincerity  of  the  acting,  the  convincing 
characters,  the  simplicity  and  realism  of  down-to-earth 
village  life,  the  Biblical  language  of  Jonathan's  utterances, 
the  all-pervading  sense  of  a  religion  that  is  real,  make  the 
power  of  this  picture.  It  has  been  widely  shown  and  warmly 
approved,  this  training  film  in  old-fashioned  religion,  by 
churches,  communities,  schools,  and  army  camps.  "The 
Power  of  God"  was  produced  by  Roland  Reed  Productions 


for  the  Evangelical  Lutheran  Synod  of  Missouri.  It  is  avail- 
able from  Visual  Education  Service,  Evangelical  Lutheran 
Church,  3558  S.  Jefferson  Ave.,  St.  Louis,  Mo.  N.  L.  G. 


Color  in  the  English  Class 

(Concluded  from  pacjc  168) 

end   is    reached   perhaps   just  as   effectively   as   by    a 
formal    showing. 

Another  good  use  of  color  slides  that  has  been  hardly 
develojied  lies  in  the  appreciation  of  poetry.  Without 
traveling  out  of  town  or  even  far  from  school,  the  pro-  J 
gressive  teacher  could — possibly  with  the  assistance  of  1 
interested  pupils — in  the  course  of  a  short  time  compile 
an  extensive  collection  of  slides  to  illustrate  poems  that 
are  read  in  the  average  class — Wordsworth's  "Daffo- 
dils," Frost's  "Birches,"  \\'hittier's  "Snow-Bound," 
Gray's  "Elegy  Written  in  a  Country  Churchyard,"  and 
many  others.  Thus  can  poetry  be  made  more  meaning- 
ful. In  addition,  a  teacher  who  writes  could  show 
slides  of  scenes  that  perhaps  inspired  his  own  writing, 
or  use  slides,  as  suggested  earlier,  to  inspire  the  class 
to  write. 

A  third  method,  particularly  when  there  is  a  sufficient 
number  of  slides  to  supply  continuity  of  theme  as  well 
as  running  commentary,  is  to  have  an  assembly  pro- 
gram on  native  literary  associations — native  to  the 
neighborhood  or  to  any  one  section  of  America  or  Eng- 
land about  which  a  unit  of  slides  can  be  gathered.  By 
this  means,  an  entire^  student  body  may  benefit  at  one 
sitting,  or  other  organizations  throughout  the  com- 
munity. 

Once  teachers  of  English  can  be  convinced  of  the 
appreciative  values  that  can  be  derived  from  color 
photography,  out  of  school  for  themselves  professional- 
ly, in  school  for  their  pupils  educationally,  they  will 
find  themselves  turning  to  it  frequently  for  more  ef- 
fective teaching  in  an  area  where  visual  aids  have  been 
somewhat  neglected  thus  far. 

For  that  matter,  color  has  not  invaded  the  science, 
geography,  and  history  classes  to  the  extent  it  might. 


May,   1943 


I 


^. 


/o 


ere 


Ci 


cut 


assroom 


Films 


Oi/t 


Page   183 


Scipg 


on  ^Jf^ar-Related  Subjects 

Produced  by  Eastman .  .  .  listed  here  to 
assist  you  in  planning  your  current-events  discussions 


COVERING  a  wide  range  of  war-related  sub- 
jects, these  films  "review"  the  geographical, 
historical,  and  topical  facts  needed  for  an  under- 
standing of  today's  headlines.  More  vital  than 


ever  is  the  help  they  offer  every  teacher.  .  .  . 
Unless  otherwise  indicated,  titles  listed  are  on 
16-nini.  (silent)  safety  stock.  Price,  $24  per 
400-ft.  reel;  shorter  reels  priced  in  proportion. 


WAR  FRONTS  OF  THE  WORLD 

Russia  (3  reels) 

Germany  (3  reels) 

India  (3  reels) 

Japan  (2  reels) 

The  Philippine  Islands 

Manchukuo 

The  Dutch  East  Indies 

Turkey  (2  reels) 

Glimpses  of  the  Near  East 

Finland 

Hungary 

Bulgaria 

Denmark 

Yugoslavia 

Siberia  (2  reels) 

Poland 

Alaska 

The  Panama  Canal 

The  Hawaiian  Islands 

Washington — the  Capital  City 

London 

HEMISPHERE  SOLIDARITY 

The  Continent  of  South  America 

Argentina 

Bolivia 

Brazil  (2  reels) 

Chile 


Peru 

Central  America 

Mexico 

From  the  Bahamas  to  Jamaica 

Puerto  Rico 

From  Haiti  to  Trinidad 

Coffee 

WAR  INDUSTRIES 

Aluminum 

Iron  Ore  to  Pig  Iron 

Pig  Iron  to  Steel 

Copper 

Tin 

Producing  Crude  Oil 

Refining  Crude  Oil 

Rubber 

Anthracite  Coal 

Bituminous  Coal 

Mechanical  Training 

Elementary  Operations  on  the 

Engine  Lathe  (2  reels,  sound 

. . .  $36  per  reel) 

Principles  of  Flight 

Four-Stroke  Cycle  Gas  Engine 

ON  THE  HOME  FRONT 

First  Aid 

Care  of  Minor  Wounds  (Vi  reel) 


Carrying  the  Injured  (Vi  reel) 
Control  of  Bleeding  (34  reel) 
Life  Saving  and  Resuscitation 

Home  Nursing 

The  Bed  Bath  {V2  reel) 

Routine  Procedures 

Special  Procedures  (%  reel) 

Fire  Protection 

Fire  Prevention 

Fire  Protection 

Fire  Safety 

Nutrition  and  Health 

Vitamins  (2  reels) 

Child  Care  (2  reels) 

Cleanliness  (4  half  reels) 

The  Eyes  (2  reels) 

The  Feet 

The  Teeth  (3  reels) 

Posture 

Education 

Free  Schools — The  Hope  of 

Democracy 

Safety 

Safety  at  Home 

Safety  at  Play 

Vacation  Safety 

Street  Safety  (2  reels) 


Many  other  timely  films  also  available. 
Write  Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N.  Y. 

Eastman  Classroom  Film 


Page    184 


The  Educational  Screen 


Cluxr^nt  ^jiLm  ^:y\s.ucr± 


■  Office  of  War  Information,  Bur- 
eau of  Motion  Pictures,  Washington, 
D.  C,  has  released  several  new  16mm 
sound  motion  pictures  for  non-theatrical 
audiences,  among  which  are : 

Conquer  by  the  Clock — 11  minutes 
— showing  through  two  dramatic  epi- 
sodes, the  results  of  carelessness  in 
war  production.  The  film's  message 
is  directed  to  war  workers. 

A  Letter  from  Bataan — 14  minutes 
— a  .glimpse  of  the  conditions  under 
which  American  soldiers  lived  and  died 
on  Bataan,  with  a  plea  for  civilian 
conservation. 

Paratroops — 9  minutes — a  factual 
account  of  the  rigorous  training  given 
our  Soldiers  of  the  Sky.  This  is  the 
first  group  of  OWI  films  picturing 
the  work  of  the  American   Army. 

Troop  Train — the  second  reel  in 
the  army  group — deals  with  the  tre- 
mendous job  of  wartime  transporta- 
tion, and  the  skill  with  which  the 
.^rmy  and  American  railroads  are 
handling  the  job.  The  moving  of  an 
.Armored  Division,  with  its  equipment, 
is  portrayed. 

■  Post  Pictures  Corp.,  723  Seventh 
Ave.,  New  York  City,  announce  the 
release  of  the  eighth  Hal  Roach  16mni 
production,  entitled: 

One  Million  B.C. — a  thrilling  por- 
trayal of  precarious  life  in  the  Stone 
.Age,  featuring  Victor  Mature,  Carole 
Landis  and  Lon  Chancy.  Jr.  In  this 
feature  picture,  giant  pre-historic  mon- 
sters and  man's  intelligence  are  pitched 
against  each  other  in  their  struggle 
for  existence. 


■  Frith  Fpms.  P.  O.  Box  565,  Holly- 
wood, Calif.,  have  completed  produc- 
tion of  two  sound  films  in  color,  300  feet 
each,  which  deal  with  subjects  of  great 
importance  today. 

To  Market,  To  Market  explains  the 
business  procedure  of  buying  and  sell- 
ing. It  shows  the  flow  of  commodities 
from  the  farm,  through  the  different 
wholesalers'  hands,  to  the  retailer.  The 
film  brings  in  many  types  of  whole- 
salers and  the  importance  of  their 
work.  The  necessity  for  shrewd  buy- 
ing is  stressed.  Colorful  scenes  present 
the  activities  at  a  large  wholesale 
market — the  arrival,  handling  and  dis- 
tribution of  food  produce,  and  shipping 
it  out  by  truck,  train  and  cargo  ship. 

Our  Foster  Mother,  the  Cow  por- 
trays the  happenings  on  a  dairy  farm, 
emphasizing  the  importance  of  milk 
and  the  great  service  the  cow  renders 
mankind.  The  film  gives  a  great  deal 
of  factual  information  about  the  care 
and  raising  of  cows — housing,  feeding, 
breeding,  selling  cattle,  calf  care,  milk- 
ing, etc. 


■  Castle  Films.  Inc.,  30  Rockefeller 
Plaza,  New  York  City,  has  added  a  sec- 
ond part  to  its  latest  war  release,  "Battle 
for  Tunisia,"  giving  a  complete  cover- 
age of  the  annihilation  of  the  Nazi  army 
at  Stalingrad.  The  complete  title  for 
the  reel  is  : 

Battle  for  Tunisia — Surrender  at 
Stalingrad  (both  i]i  one  reel).  In  this 
last  part  of  the  reel  captured  German 
films  show  the  Nazis  in  their  prelim- 
inary advance  on  the  city,  with  big 
guns  firing  point-blank  on  the  factory 
district  and  apartment  houses.  Flame- 
throwers and  grenadiers  attack  in  the 
street-to-street  fighting.  Then  the  tide 
turns  as  official  Russian  films  show 
one  of  the  greatest  disasters  in  German 
history!  The  embattled  Russians  surge 
forward  in  a  mighty  counter-attack  that 
crushes  the  Nazis  after  bitter  fighting. 
A  mile-long  column  of  disillusioned 
soldiers  marches  off  to  prison  camps, 
shattering  forever  the  myth  of  German 
invincibility.    Included    in    the    capture 


"Surrender  at  Stalingrad" 

are  twenty-four  Nazi  generals,  includ- 
ing VonPaulus,  the  commander  of  the 
defeated   army! 

This  film  can  be  obtained  from 
protographic  and  visual  aids  dealers  in 
five  16  mm.  and  8  mm.  sizes  and 
lengths. 


■  Vision  Educational  Productions, 
509  Fifth  Ave.,  New  York  City,  have 
completed  jiroduction  on  two  safety- 
health  films  in  one-reel  16mm  sound, 
namely: 

Danger — Women  at  Work — designed 
especially  for  the  new  army  of  women 
war  workers  in  industry.  It  deals  with 
correct  work  clothes,  safety  procedures, 
proper  posture,  correct  diet,  absen- 
teeism,  etc. 

Tomorrow's  Too  Late — takes  up  the 
worker's  part  in  the  war  effort,  discuss- 
ing safety  rules,  misuse  of  tools,  rules 
for  relaxation,  nutrition,  dermatitis,  etc. 

These  films  are  available  for  pur- 
chase from  the  producers.  35mni 
soundslide  and  35mni  sound  motion 
picture  versions  are  also  obtainable. 


■  British  Information  Sekvices.  360 
N.  Michigan  .Ave.,  Chicago,  offer  the 
following  new  films  on  the  war  pro- 
gram: 

Britain's  Paratroops — 1  reel — train- 
ing of  paratroops  and  their  functions  in 
warfare    reiJorted    by    Bob    Considine. 

Motorcycle  Training — 1  reel — train- 
ing of  Canadian  .Army  Motorcycle 
Corps  in  England.  Examples  of  haz- 
ards cyclists  overcome  in  running  a 
message    under   combat   conditions. 

Shock  Troops — 1  reel—Britain's 
Commandos  go  through  a  tough  work- 
out on  their  training  course;  then  com- 
bine with  Navy  and  .Air  Forces  to 
raid  the  enemj'  coast. 

Street  Fighting— 1  reel — a  realistic 
demonstration  i)y  the  Coldstream 
Guards  of  the  tactics  of  house-to-house 
fighting. 

America  Moves  Up — 1  reel— a  re- 
port by  Bob  Trout,  on  the  many  ways 
in  which  the  I'.S.  is  moving  materials 
and  men  into  action. 

Via  Persia — 1  reel — .Army  Film 
I'nit  production  with  diagram  maps, 
showing  transportation  of  heavy  war 
materials  through   Iran  for  Russia. 

Control  Room — 2  reels — working  of 
the  Civilian  Defense  organization  dur- 
ing a  heavy  raid  on  a  large  city. 

Eating  at  Work — 1  reel — manage- 
ment of  factory  canteens  by  nutrition- 
ists. 

The  Harvest  Shall  Come— 4  reels- 
story  of  Britain's  agriculture  from 
1900,  told  through  the  life  of  a  farm 
worker.  Stresses  post-war  aim  of  re- 
vitalized  agriculture. 

•  U.S.  Office  of  Civilian  Defense. 
Washington,  has  deposited  the  follow- 
ing three  16''im  sound  films  with  many 
educational  film  lending  libraries : 

A  New  Fire  Bomb — 1  reel,  pro- 
duced by  the  British — shows  how  to 
fight  a  new  type  of  explosive  fire  bomb. 
Various  methods  for  attacking  bombs 
that  have  fallen  in  houses  are  demon- 
strated. 

Air  Raid  Warden's  Report — 1  reel — 
is  designed  to  give  the  warden  an  un- 
derstanding of  the  importance  of  his 
job,  by  describing  his  role  in  the  ci- 
vilian defense  set-up. 

The  Work  of  the  Rescue  Unit— 2 
reels — pictures  the  equipment  and 
quarters  of  a  model  life-saving  rescue 
unit,  and  shows  the  unit  in  action  on 
an  accurately  simulated  emergency  call. 

■  Official  Films.  Inc.,  425  Fourth 
Avenue,  New  York  City,  has  released 
Volume  I  of  1943  News  Thrills,  a  reel 
of  significant  events  including:  the 
Casablanca  meeting  of  President  Roose- 
velt, Prime  Minister  Churchill,  and- 
Generals  DeGaulle  and  Giraud;  the 
President's  trip  to  Brazil:  the  Red 
Army's  victory  of  Stalingrad;  the  rout 
of  the  Japs  at  Guadacanal;  and  the 
gripping  tale  of  the  small  band  of  brave 
Aussies  who  continue  to  fi,ght  the 
enemy  on  the  Jap-held  island  of  Timor. 


May,   194} 


Page    185 


Pupils  Learn  20^  to  60%  more  in  less  time 

Yes — exhaustive  research  and  experiment  have  proved  that  pupils  learn 
20%  to  60%  more  in  less  time  when  the  subject  is  visually  presented 
with  motion  pictures  as  compared  to  other,  more  conventional  teach- 
ing methods. 

Could  there  be  a  better  reason  for  making  fullest  possible  use  of  your 
school  projector?  If  subject  material  is  a  question  with  you,  the  answer 
to  it  is  .  .  . 

Use  the  FILMOSOUND  LIBRARY 

Through  your  B&H  Visual  Education  dealer  and  the  Filmosound  Library 
you  have  at  your  command  a  wealth  of  subject  material  that  is  practically 
all-inclusive  in  its  variety.  There  are  thousands  of  films  from  which  to 
choose— and  all  on  a  purchase  or  rental  basis.  Get  the  Filmosound 
Library  Catalog  and  latest  Bulletins.  You  will  be  amazed  at  progress 
recently  made  in  educational  films.  Mail  the  coupon. 

MOTION       PICTURE       CAMERAS       AND       PROJECTORS 


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(  )  Educational  Aim  catalog. 

I  now  haye have  not your  1942  Aim  catalogs. 

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Page   186 


The  Educational  Screen 


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The  Literature  in  Visual  Instruction 

(Continued  jroiit  page  173.) 

out  reading  of  a  more  desirable  type;  2)  many  poor  readers 
merely  get  the  story  from  the  pictures  without  making  an 
effort  to  read  the  text;  3)  the  adventures  portrayed  are  so 
far  removed  from  reality  that  children  do  not  acquire  a 
real  understanding  of  the  world  as  it  is;  4)  there  is  little 
or  no  progression  of  reading  experience  within  the  area  of 
the  comics;  and  5)  the  art  of  most  of  the  strips  is  of 
inferior  quality. 

.-Xfter  citing  the  remarks  of  children  about  reasons  why 
they  like  or  dislike  comics,  and  those  they  like  best,  the 
author  concludes  that  adults  should  advocate  moderation 
rather  than  abstinence.  Thej'  should  recognize  that  the 
values  of  comics  differ  for  individuals.  Undoubtedly  they 
meet  needs  of  certain  children  at  certain  stages  of  their 
development.  Thus  they  serve  a  useful  transitory  purpose, 
often  stimulating  an  initial  interest  in  reading  and  leading 
to  the  reading  of  books. 

Realizing  the  power  of  comics,  the  dissenting  educator 
might  wisely  turn  his  objections  into  a  positive  program 
for  their  improvement  and  utilize  them  as  one  avenue  of 
education. 

M.APS 
What  Is  the  World  Coming  to? — Elmer  R.  Smith,  director 
of  curriculum  study,    Providence.   R.  I. — School  Executive, 
62:34  March,  1943. 
Among  other  developments  in  the  world  that  are  related 
to    the   curriculum,    is    the    very    important    part    maps   are 
playing.    Schools    must    recognize    their    responsibility    of 
teaching  the  best  ways  of  reading  and  using  maps. 

EQUIPMENT 

Optical  and   Mechanical  Characteristics  of  15mm.   Mcticn- 

Picture      Projectors  —  Robert     E.     Stephens  —  National 

Bureau  Standards,  Circular  C437.   1942.  22p.  10c  Supt,  of 

Documents,  Washington,  D.  C. 

This  research  was  carried  on  for  the  Committee  on  Scientific 
.Aids  to  Learning,  to  help  suggest  specifications  governing  the 
procurement  of  projectors.  A  similar  study  on  the  auditory 
characteristics  of  lOnim.  projectors  has  also  been  published  by 
the  Bureau  of  Standards. 

Ten  16mm.  projectors,  furnished  through  the  courtesy  of 
five  manufacturers,  were  tested  to  determine  typical  values  of 
the  important  characteristics.  The  qualities  tested  were :  re- 
solving power,  illumination  of  the  image,  jump  and  weave,  film 
life  and  durability. 

The  bulletin  describes,  with  illustrations,  how  a  projector 
operates  and  how  it  is  constructed.  The  various  tests  ap- 
plied to  tlie  ten  projectors  are  explained  and  results  noted: 
a)  picture  size  from  the  regular  projection  distance  of  the 
room ;  b)  the  image  (|uality  as  measured  by  the  resolving 
power ;  c )  brightness  of  the  image,  as  measured  on  a  dark 
slate  blackboard  with  several  different  lamps;  d)  jump  and 
weave  (vertical  and  horizontal  motion  while  the  projector  is 
in  action),  measured  with  a  special  film;  e)  travel  ghost, 
blurring  caused  by  faulty  shutters;  f)  durability;  g)  wear  on 
film  caused  by  strain  from  the  intermittent,  or  twist  in  thread- 
ing. 

Some  items  of  information  of  value  to  projectionists  are: 

1.  The  simpler  the  rewind  features  on  a  machine,  the  better 
will  it  work  with  inexperienced  operators. 

2.  The  machine  should  be  built  so  that  belts  may  be  easily 
changed. 

3.  The  still-picture  feature  is  not  always  practicable,  and  the 
use  of  a  motion  picture  projector  as  a  substitute  for  a 
lantern  slide  projector  is  entirely  unsatisfactory. 

4.  To  avoid  undue  distraction,  use  the  rewind  on  a  film  only 
with  the  lamp  shut  off.  while  the  reverse  action  is  taking 
place. 

5.  Do  not  be  unduly  influenced  by  safety  devices  which  stop 
the  machine  if  the  loop  is  lost.  Well-designed  machines 
will  handle  film  with  decided  imperfections  without  loss 
of  loop. 

6.  The  life  of  film,  through  the  average  projector  should  be 
500  to  1,000  or  more  projections. 


May,   194} 


Page   187 


7.  The  exposed  part  of  the  machine 
should  not  get  overheated  to  make 
manipulation  during  ordinary  op- 
eration too  difficult. 

8.  A  good  projector  should  show  neg- 
ligible wear  after  500  hours  of  use. 
except  for  motor  and  governor 
brushes.  Brushes  should  be  ex- 
pected to  last  at  least  400  hours. 

PKRIODICALS 

Visual  Review,  1943 — published  by 
The  Society  for  Visual  Education, 
Chicago.  88  pp.  Free. 

I  This  year's  edition  of  the  annual  Vis- 
ual Kcvicw  is  dedicated  to  instructors 
and  members  of  the  armed  forces  in 
recognition  of  their  effective  utilization 
of  visual  aids  in  the  war  training  pro- 
gram. The  Review  is  concerned  for  the 
most  part,  with  the  vital  and  significant 

■  role'  audio-visual  aids  are  playing  in  the 
war  effort,  as  indicated  by  the  group- 
headings  given  on  the  Contents  page : 
".■\udio-Visual  .'Xids  Utilization  in  War 
Training,"  "Pre-Induction  Training  in 
the  Schools  and  Industrial  Utilization  of 
\isual  .^ids,"  "Uses  for  Microphotog- 
raphy."  "Government  Departments  Util- 
ize Visual  Aids,"  Kodachrome  Miniature 
Slides  and  Slidefilms  Contribute  to  Youth 
p>lucation,"    "Films     Unite    the    .Allies," 

'  "Canada  Engages  in  Widespread  Film 
Program." 

How  the  U.  S.  Navy,  Army  Air 
I'Orccs,  Marine  Corps,  Coast  Guard,  and 
Signal  Corps  use  motion  pictures  and 
slidefilms  in  their  training  programs,  is 
reported  in  the  first  section  by  those  in 
charge  of  or  concerned  with  such  pro- 
grams. A  description  of  the  pre-in- 
duction  training  courses  instituted  in  the 
schools  of  the  Nation  is  given,  followed 
by  listings  of  available  slidefilms  adapted 
tc  such  courses. 

Three  articles  describe  microfilming  in 
tlif  .Army  Medical  Library,  the  role  of 
microphotography  in  modern  records 
management,  and  the  use  of  microfilm  in 
libraries. 

The  splendid  service  films  render 
Federal  prisons,  and  the  Department  of 
Agriculture's  film  program  are  cited  as 
I  \ainples  of  the  extended  utilization  of 
\isual  aids  by  many  departments  of  the 
( Icivernment. 

With  respect  to  the  progress  of  visual 
instruction  in  other  countries,  Margaret 
Prine  of  the  Boston  School  Department 
rilates  what  she  has  seen  of  it  in  South 
.\merica ;  and  T.  Y.  Lo  of  Chungking 
tells  how  Free  China  utilizes  instructional 
films.  The  work  of  the  Office  of  the 
(  "ordinator  of  Inter-American  Affairs 
i-  also  presented. 

Canada's  audio-visual  and  war  film 
l>ri)gram  is  covered  in  three  articles. 

.A  group  of  articles  on  Kodachrome 
slides  and  slidefilms  are  indicative  of  the 
increasing  use  made  of  these  aids  in  the 
schoolroom.  "Look  and  Listen !"  is  the 
provocative  title  of  an  account  by  Emilie 
U.  Lepthien,  of  a  Chicago  Experiment 
in  radio-visual  correlation.  Another  ex- 
periment with  Kodachrome  slides  in  West 
Virginia  schools  is  summarized  by  Carle- 
ton  C.  Pierce,  Jr. 


THIS  IS 

SOMETHING 

YOUR  PUPILS 

WILL  WANT 

and 

SOMETHING 
YOU  WILL  WANT 
THEM  TO  HAVE! 


v'liARn 

yana 

■Personality 


A  convincinq  and  inspiring  NATURAL-COLOR  motion  picture.  Mode  in,  witli  and  for  Junior 
and   Senior  High   Schools.      Suitable  for  all  grades. 

Provides  38  minutes  of  good,  downright  constructive  thinking,  y»ith  lasting  memory  value 
on  Personodfy  Improvement.  Good  grooming.  Posture  ami  Appearanee  and  Social  and  Table 
Et/quefte— ond  the  other  requisites  of  (1)  Being  nice  to  look  at  1 2)  Being  pleasant  to  talk 
to   (3)    Having   good  manners   (4)    Proper  concept  of  right  and  wrong  conduct. 

To  students  this  !.•;  the  most  interesting  instruction  in  the  world— and  to  school  adminis- 
trators— "the  only  film  known  to  us  which  covers  this  most  important  subject.  —Woodward 
High     School,    Cincinnati. 

HIGHLY  ENDORSED  BY  USERS  WHOSE  OPINIONS  YOU  VALUE  and  who 
literally  "urge  jiriiKipals  everywhere  to  seize  the  opportunity  of  showing  this  remarkaDle 
film  to  their  students,  immediately."— A.  Ludwig,  Principal,  Far  Rockaway  High  hchool. 
New    York. 

"Our  wish  is  that  every  school  in  the  country  will  avail  itself  of  the  opportunity  to  use 
this  means  of  teaching  the  young  people  the  principles  inculcated  in  this  picture.  — Mother 
of    Mercy    Academy,    Cincinnati,    O. 

"Its  many  pointed  lessons,  both  positive  and  negative,  have  a  telling  power  that  would 
be    difficult    for   a   dozen,  text-books    to    duplicate."— Notre    Dame    Academy.    Cleveland.    O. 

•'I  think  this  is  one  of  the  finest  achievements  in  the  whole  area  of  instruction  in  behavior 
and  etiquette,  that  I  have  ever  seen.  The  ideas  are  presented  graphically  and  quite 
naturally   by    your   student   actors."— Ralph    Rochm,    Y.M.C.A.    Secretary,    New    York    City. 

"This  film  is  of  very  high  character,  has  great  educational  value,  and  is  very  much 
appreciated  by  pupils."— Dr.  M.  H.  Lucey,  Julia  Richmond  Senior  High  School  for 
Girls,    New    York. 

"It  carries  so  much  educational  value  for  a  boys'  school  like  Cincinnati  .\utomotive  High, 
that   we  could  not  afford  to  miss  it." — Ray  Kunz,   Principal. 

"This  film  helps  children  discover  for  themselves  desirable  manners  and  worthy  social 
ideals."— C.    S.    Johnson,    Principal,    Port    Washington    Jr.    High    School,    New    York    City, 

"The  picture  is  most  excellent.  We  have  not  had  a  better.  That  is  saying  a  lot  as  we 
use  about  200  films  each  year.  R.  M.  Ediborn,  Director  Vis.  Ed.,  Aliquippa  (Pa.) 
Public    Schools. 

"Our  pupils  in  Ercrydat  Lii-ing  have  had  a  very  inspiring  two  days  with  Charm  and 
Personality.  We  have  been  studying  boy  and  girl  relationships  and  related  problems  in 
our  classes,  and  the  film  with  its  graphic  and  natural  approach  lo  these  relationships  has 
been    most    helpful." 

"The  'Military  Rcjincs'  which  have  been  added  to  the  film  puts  the  war  on  a  personal 
teamwork  basis.  These  were  the  fir.st  natural-color  motion  pictures  of  the  Army,  the 
Navy,  the  Marines,  and  Mechanized  Units  that  have  ever  been  shown  in  our  schools.'  — 
P.    C.    Dunsmore.    Supervisor    of    Social    Studies,    Toledo,    O. 

"This  film  is  equal  to  all  the  advance  claims  made  for  it." — R.  D.  Evans,  Director  of 
Research,    Ecorse    Public    Schools,    Ecorse,    Mich. 

ONE  FILM  SHOWN  ONCE  GETS  THIS  RESULT: 

"This  film  has  demonstrated  that  it  has  the  power  to  transform  the  usual  wistful  wishing 
and  dreaming  about  charm  into  a  determination  to  acquire  it.  and  to  start  pupils'  prac- 
ticing its  basic  rules  immediately  in  their  daily  routine  of  social  and  school  contacts.'  — 
C.    G.    Sharkey,    Dept.    of   Vocational    Education.    Dayton,    O. 

"Your  lively  and  entertaining  picture  on  charm  and  personality  has  given  our  students 
many  excellent  lessons  this  morning.  In  it  the  'wrong  way'  is  hardly  overdone,  and  the 
'right  way'  is  shown  to  be  so  charm-ngly  simple,  that  the  picture  lends  much  conviction 
to   our   customary    lessons   in   the   social   arts   .    .    . 

PURELY    EDUCATIONAL— NO    ADVERTISING— NO    SELLING 

*'In  reply  to  yoiir  (jucstion  about  commercializing  the  film,  we  can  only  say — please  don't. 
Its  lesson  is  so  personal  and  social  tliat  it  would  seem  to  be  cheapened  if  you  connected 
it  with  a  sponsor.  We  hope  you  will  keep  it  in  the  atmosphere  it  has  now." — The  Sisters 
of   Notre    f>ame.    Julienne    Hich    School,    Dayton.    O. 

Silent  print,  with  titles,   $6.00  per  doy  when   used    by  one   or  two   schools;    S8.00   by   three 

schools:   S10.00  by    four  or  more  schools.    Sound    prints,    $12.50    per    day    by    one    or    more 

schools.    20'^/    discount  for  check  with  order:107r     for    any    other    advance     payment;     So; 

C.O.D. 

Both  editions  have  about  the  same  teaching  value    (endorsements  given  obove  are  on  silent 

prints  before  sound  wos  added).     Both  silent  and  sound  prints  are  In  naturol  color,   16  mm, 

1100  ft.   or  38   minutes  running  time.     In  ordering,  give  first,  second  and  third  choice  dates. 

WARREN'S   MOTION    PICTURES 

253  Chestnut  Street 


(Adami  2644) 


Dayton,  Ohio 


Page    188 


c^mona  tliE,  iJ-^ioducdXi 


New  Aircraft  Identification  Kit 

A  very  complete  new  kit  of  336  air- 
craft identification  silhouettes  in  2"x2" 
miniature  slides,  recently  prepared  by 
Flying  magazine,  is  now  being  distributed 
exclusively  through  the  Society  for  Vis- 
ual Education,  Inc.  The  kit  has  been  test- 
ed with  excellent  results  in  approximately 
150  aircraft  identification  courses  in  high 
schools,  colleges  and  among  various 
units  of  the  Armed  Forces. 

Material  for  this  kit  was  prepared 
by  a  highly  specialized  staff  of  experts 
and  is  specifically  designed  for  group 
instruction.  It  includes  1 10  different 
types  of  aircraft  used  by  the  world's 
major  air  powers.  Each  type  of  aircraft 
is  completely  identified  with  three  indi- 
vidual silhouettes  on  separate  slides, 
vi'hich  show  side,  bottom,  and  front 
views.  In  addition,  there  are  six  intro- 
ductory slides,  showing  front  and  hotiom 
views   of   various   wing   types. 


Frame  from  Aircraft  Unit 

The  kit  includes  an  indexed  case, 
slides,  and  an  instructor's  manual.  Each 
slide  is  accurately  keyed  to  the  master- 
index  on  the  cover  of  the  case,  which 
lists  the  guide  number  and  type  of 
aircraft.  The  instructor's  manual  in- 
cludes an  alphabetical  index  of  aircraft 
types  and  provides  suggestions  concern- 
ing the  proper  use  of  the  slides.  The 
standard  kit  is  available  at  $35.00  in 
cardboard  Eezeemounts,  and  a  Deluxe  kit 
with  silhouettes  mounted  between  glass 
in  S.V.E.  Slide  Binders  will  sell  at  $55.00. 

Smaller  units  of  supplementary  slides 
will  be  made  available  by  the  Society  for 
Visual  Education,  Inc,  as  rapidly  as  the 
staff  of  Flying  magazine  may  secure 
detailed  information  concerning  new 
types  of  military  aircraft  and  prepare 
new  drawings.  It  is  also  likely  much  of 
this  same  material — including  the  orig- 
inal kit — will  be  made  available  on 
slidefilms,  for  the  benefit  of  those  who 
do  not  have  projectors  for  miniature 
slides. 

Complete  information  covering  these 
new  and  eflfective  training  aids  may  be 
secured  from  the  Society  for  Visual 
Education,  Inc.,  100  East  Ohio  Street, 
Chicago,  upon   request. 


Ampro  War  Model  Projector 

Last  year,  the  Ampro  Corporation  was 
confronted  with  the  urgent  necessity  for 
reducing  to  a  minimum  the  use  of  critical 
materials  in  making  16  mm  sound  pro- 
jectors ;or  the  government.  This  in 
spite  of  the  fact  that  .'^mpro  projectors 
were  being  made  exclusively  to  help  train 
and  entertain  C  S.  fighters  all  over  the 
world.  At  the  same  time,  this  reduction 
had  to  be  accomi)lished  without  in  any 
way  lowering  the  efficiency  of  Ampro 
units  whicli  had  passed  severe  govern- 
n-.ent   tests   with    tiying  colors. 

.\mpro  engineers  went  to  work  on  this 
problem  with  a  will.  The  result  is  a  new 
".•\niprosound  Model",  which  is  said  to 
offer  an  actual  increase  in  efficiency  and 
convenience  of  operation.  The  changes 
in  materials  included :  complete  elimina- 
tion of  aluminum  castings,  reduction  of 
scarce  materials  such  as  brass,  sheet 
aluminum,  etc.,  change  in  amplifier  cir- 
cuit to  avoid  special  tubes,  adoption  of 
bakclite  and  plastics  to  replace  metal, 
elimination  of  rubber  wherever  possible, 
and  replacement  by  plastics  of  all  metal 
nameplates. 

Some  of  the  improvements  incorporated 
in  the  new  "Amprosound  Model"  are : 
heavier  reel  belts  and  larger  pulleys,  im- 
proved film  snubbers  for  protecting  film, 
improved  belt  shifter  and  belt  guard  that 
provides  positive  shifting  of  take-up  belt, 
sound-silent  speed  switch  (and  reversing 
switch  on  Model  YSA)  moved  to  right 
hand  front  cover  of  amplifier  housing 
for  greater  convenience,  and  removable 
governor  cover  on  right  front  corner  of 
amplifier  housing  for  easier  access  to 
governor,  drive  belt,  and  threading  lamp. 

Ampro  announces  a  dealer  publication 
headed  Ampro  AVwj  which  will  be  issued 
every  other  month  and  will  be  mailed  to 
all  .-Xnipro  dealers  and  representatives. 
This  publication  will  contain  personal 
items  and  dealer  news :  will  carry  spe- 
cial items  of  interest  to  the  development 


The  Educational  Screen 

and  activities  concerning  Ampro  equip- 
ment. Copies  of  this  new  publication  will 
be  sent  on  rer4uest.  Address  the  Ampro 
Corporation,  2f39  N.  Western  Avenue. 
Chicago. 


New  Amprosound  Projector 


Ampro   16mm   Dual  Unit 
(Model   J    Kit) 

This  unit  is  operated  overseas  by 
the  Special  Services  Division  of  the 
II.  S.  Army.  Each  Model  J  Kit  con- 
sists of  the  following  equipment:  2 
YSA  1000-watt  Ampro  projectors,  1 
PA3  amplifier,  Z-iYi  super  lenses,  au- 
tomatic changeover  box,  dynamic  nii- 
cro|)hone  with  floor  stand,  AC-DC 
turntable,  Craig  Senior  Splicer  com- 
bination with  Master  Rewinds,  com- 
|)lete  sets  of  maintenance  parts  and 
operating  accessories.  Hundreds  of 
these  Dual  Units  are  furnishing  mo- 
rale-building entertainment  to  U.  S. 
fighters  in  Alaska,  Africa,  England, 
Australia,  the  Solomons — wherever  the 
I'.  S.  .-Xruiy  has  established  bases. 

Filmslide  on  Highway  Program 

To  further  successful  prosecution  of 
the  war  through  conservation  and  effec- 
tive use  of  our  highway  transportation 
facilities,  Victory  Highivay,  a  35  mm 
soimd  slidefilm  was  recently  produced  by 
the  Automotive  Safety  Foundation  for 
use  by  the  34  national  organizations  which 
have  endorsed  the  Wartime  Highway 
Traffic  Program. 

The  19-minute  film  dramatically  por- 
trays the  job  of  the  legislator,  the  motor 
vehicle  administrator,  police,  engineers, 
educators  and  the  public  in  putting  this 
program  on  an  effective  working  basis. 
Conservation  of  our  critical  stock  of 
vehicles,  tires  and  roadw'ays ;  conserva- 
tion of  manhours  and  manpower  through 
accident  prevention,  and  making  most 
efficient  use  of  our  roads  and  vehicles 
for  essential  transportation — the  three 
objectives  of  the  program — are  effectively 
illustrated.  The  place  of  every  man, 
woman  and  child,  as  part  of  public 
participation  in  the  Wartime  Highway 
Traffic  Program,   is  clearly  defined. 

The  slidefilm  is  available  for  loan 
through  the  headquarter  offices  of  many 
of  the  endorsing  organizations,  a  list  of 
which  is  available  from  the  Automotive 
Safety  Foundation,  Tower  Building, 
Washington,  D.  C. 

(Concluded  on  page  190) 


May,    194} 


Page   189 


V 


MOTION  PICTURES  CAN  HELP 
BRING  A  SPEEDY  VICTORY! 


SAMPLE 
VICTORY  SUBJECTS 

ONE-REEL  SUBJECTS 

I  .  S.  Carrier. 

(liiastal   Defciii-c 

Britain  on  Guard 

Siege — Siege  of  Warsaw. 

Soldiers  of  the  Sea — U.  S. 
Marines. 

Pilot  Boat— Story  of  pilots. 

Newsreel — How  they're  made. 

Streamline — Railroad  History. 

An  Army  Makers  Sky  Airmada. 

Trans-America— Wings  Across 

the  Continent. 
Midway  and  Coral  Sea  Battles 
U.S.  Navy  Blasts  Marshall  Island 
Men  of  Muscle— Physical  Training 

Rental   $1.50   Each 


Run  Films  That  Fight  for 
Freedom 


HAVE  YOU 

MOBILIZED  YOUR  PROJEQOR 

FOR  VICTORY! 


V 

SAMPLE 
VICTORY  SUBJECTS 


How  about  this  summer? 

Keep  that  Projector  working  for 

VICTORY! 

If  you  cannot  use  it  yourself, 
will  you  rent  it  to  us? 

We  will  keep  it  working  in 

the  War  Effort  and  pay 

you  revenue  for  it. 


KNOW  YOUR  ENEMY— JAPAN 

2    reels.      The    picture    that    answers   the 
following  questions:    How  large  is  Japan? 
How  strong  is  Japan's  army,  navy  and  air 
force?      Who   rules   Japan?      Does   Japan 
have  enough  raw  materials?     What  .•'.re  the 
living  .standards  of  the  Japanese?  Can  Japan 
he  defeated?     Rental  $3.50. 

THE  WORLD  AT  WAR 

S  reels.     This  is  a  pictorial  record  of  a  decade 
(if  war  that  led  to  the  attack  on  Pearl  Harbor 
and    the    Western    hemisphere.      Every    scene    is 
authentic,   the  materia!   of   which   was   taken   not 
only    from    American    newsreels    but    from    many 
of    the   films   that    were   captured.     Rental    $5.00. 


YELLOW  CAESAR 

2  reels.     A  travesty  on  the  inglorious  life  of  Benito 
Mussolini,  including  the  Lybian  campaign.    Exposing 
his  cowardice,  lack  of  scruples  and  showing  the  wide 
j;ap  that   exists  between  him  and  the  average  Italian. 
The  film  closes  with  Churchill's  radio  address  to  the 
Italian  people.     Rental  $3.00. 


Run  GOVERNMENT  films 
at  every  program! 


Join  the 
Home  Front  Offensive! 


FROM  THE  OFFICE  OF 
WAR  INFORMATION 

Salvage — 1  reel. 
Man  Power — 1  reel. 
Listen  to  Britain — 2  reels. 
Women  in  Defense — I  reel. 
News  Review  No.  1 — 2  reels. 
Divide  and  Conquer — I  reel. 
Home  on  the  Range — 1  reel. 
Arm  Behind  the  Army — 1  reel. 
The  Price  of  Victory — 2  reels. 
Democracy  in  Action — 1  reel. 
Henry  Brown,  Farmer — 1  reel. 
Campus  on  the  March — 1  reel. 
Winning  Your  Wings — 2  reels. 
Out  of  the  Frying  Pan  Into  the  Fire — 
1  reel. 


U.  S.  RECRUITING  OFFICE 

The  Men  Make  the  Navy  and 
The  Navy  Makes  the  Men. 

U.  S.  NAVY 

American  Sea  Power. 

Eyes  of  the  Navy. 
I  am  an  American  Blue  Jacket. 
.Submarine  at  Sea. 


Send    for    your    free    buttoit. 


HOME 

FRONT 

OFFENSIVE 


OUR  LATIN-AMERICAN  NEIGHBORS 

The  Sky  Dancers  of  Papantila — 1  reel. 
This  Is  Equador — 2  reels. 
Colombia,  Crossroads  of  Americas — 3  reels. 
Argentina  Primer — 2  reels. 
In  Color 
Fiesta  of  the  Hills — 1  reel. 
Our  Neighbors  Down  the  Road — i  reels. 
A  Line  from  Yucatan — 1  reel.  • 

HOW  TO  GET  THESE  FILMS 

There  is  no  rental  charge  on  any  of  these  films.  Any 

of  these  Government  films  will   be  provided  without 

any   charge   whatsoever,   when   they   are   included   in 

regular  rental   programs,  costing  $2.00  or  more.     To 

all  others,  we  are  compelled  to  make  a  service  charge 

of  50   cents  for  the  first   film,  and  25   cents  for  each 

additional   subject   used  on  the  same  program. 


V 


V 


IDEAL  PICTURES  CORPORATION 


28  E.  Eighth  Street 


IDEAL  PICTURES  CORP.,  18  S.  3id  St.,  Memphii,  T*nn. 
IDEAL  PICTURES  CORP.,  2408  W.  7Ui  St.,  Lot  Angele*.  Calii. 
IDEAL  PICTURES  CORP.,  1739  Oneida  St.,  Danrer,  Colo. 
STEVENS-IDEAL  PICTURES,  89  Cone  St..  N.  W.,  AUoata.  Go. 


Chicpgo,  Illinois 

and  the  following  branches  and  offifiafes 

NATIONAL-IDEAL  PICTURES,   INC.,  2024   Main  St.,   DaUal,  Texas. 
OWENS-IDEAL  PICTURES  (Drawrer  H,  Milwaukee  Branch),  Portland,  Oregon. 
IDEAL-SOUTHERN  16MM  PICTURES  CO.,  172  N.  E.  96lh  St.,  Miami,  Florida. 
IDEAL  PICTURES  CO.,  210  E.  Franklin  St.,  Richmond,  Va. 
BERTRAM  WILIOUGHBY  PICTURES,  Inc.,  1600  BroadwoT.  New  York  City. 


Page    190 


The  Educational  Screen 


DeVry  Awarded  Army-Navy  "E" 

The  Army-Navy  "E"  for  Excellence  in 
production  of  motion  picture  cameras, 
sound  projectors  and  special  training  de- 
vices for  the  Armed  Forces  has  been 
awarded  to  the  DeVry  Corporation,  pio- 
neer Chicago  manufacturers. 

The  presentation  ceremony,  held  on 
April  3rd  at  the  Medinah  Club  of 
Chicago,  was  attended  by  over  1000 
employees,  suppliers  of  DeVry,  and  many 
distinguished  guests,  including  high  rank- 
ing Army-Navy  officers,  Edward  J. 
Kelly,  Mayor  of  Chicago,  and  Dwight 
H.  Green,  Governor  of  Illinois.  Both 
the  Mayor  and  Governor  addressed  the 
gathering.  Dr.  I.  E.  Deer  of  the  Motion 
Picture  Producers  and  Distributors  of 
America  acted  as  Chairman.  The  U.  S. 
Navy  Band,  Navy  Pier,  Chicago,  provid- 
ed the  stirring  music  for  the  Ceremony, 
and  a  Color  Guard  from  the  same  sta- 
tion posted  the  colors  and  "E"  Flag. 

Captain  Frank  Loftin,  U.S.N.  (Re- 
tired), Secretary  to  the  Navy  Board  for 
Production  .Awards,  Office  of  the  Under 
Secretary  of  the  Navy,  came  to  Chicago 
from  Washington,  D.  C.  to  present  the 
"E"  Flag  to  DeVry. 

William  C.  DeVry,  President  of  the 
Company  made  acceptance  on  behalf  of 
his  organization.  He  remarked  in  part : 
"Although  there  is  no  competition  in 
times  like  these  in  the  sense  that  we 
consider  competition  in  peace  time,  we 
feel  a  competitive  thrill  out  of  this 
signal  honor  that  our  Company  has  won, 
strictly  and  solely  for  the  production  of 
Motion  Picture  Sound  Equipment  .... 
Nor  should  we  overlook  the  forbear- 
ance of  our  civilian  customers  whose 
sympathetic  understanding  of  our  pri- 
mary objective  of  serving  our  Country 
has  been  both  a  moral  lift  and  a  physical 
contribution.  Time  will  come  when  these 
civilian  customers'  needs  will  be  vital  to 
the    progress    and    profit   of   the    DeVry 


(Left  to  right)  Mr.  William  C.  DeVry, 

Mr.  John  Lang,  Lieut.  Col.  Gerald  H. 

Reynalds,    Capt.    Frank   Loftin. 

Corporation.  Right  now,  about  all  I 
can  do  is  tell  them  that  they,  too,  have 
a  share  in  our  "E"  Award,  and  that 
later  we  shall  find  opportunity  to  repay 
their  patience  with  new  and  finer  war- 
born  DeVry  Motion  Picture  Sound 
Equipment  .  .  .  ." 

Lieut.  Colonel  Gerald  H.  Reynalds, 
Deputy  Director  of  Training,  Si.xth 
Service    Command,    presented     the    "E" 


Label  Insignia  to  veteran  DeVry  em- 
ployees. The  speech  of  acceptance  was 
made  by  John  Lang,  employee  of  20 
years  service,  on  behalf  of  his  fellow 
workers. 

Following  the  ceremony,  Mr.  John 
Balaban.  Chairman  of  the  .'\musement 
Division.  Red  Cross  Drive,  and  a  Uni- 
formed Red  Cross  Worker  received  a 
check  running  into  four  figures  as  De- 
Wy  employees  contribution  to  the  Red 
Cross. 

Awarding  of  the  coveted  .'\rmy-Navy 
"E"  to  DeVry  shows  how  important 
motion  picture  education  is  to  waging 
war  and  providing  entertainment  for  our 
boys  at  the  fronts.  It  also  shows  what 
a  splendid  job  instructors  in  business 
and  industry  are  doing  in  preparing  young 
men  and  women  for  immediate  war  tasks 
through  the  development  and  use  of 
time  saving  motion  picture  films. 

United  Air  Lines  Filmstrip 

The  story  of  air  transportation  is 
unfolded  in  a  new  filmstrip,  titled 
lichind  the  Scenes  of  a  Coast-to-Coast 
Iliiiht.  prepared  for  United  Wr  Lines 
by  Ray  O.  Mertes,  Assistant  Director, 
School  and  College  Service.  Besides  tak- 
ing the  audience  on  a  flight  from  coast- 
to-coast,  the  film  covers  the  history  of 
air  transportation,  the  geography  of  the 
Overland  Trail,  details  of  flight  naviga- 


Motion  Pictures — 
Not  for  Theatres 

(^Continued  front  page  172) 

is  easy  to  see  why  exhibitor  confidence 
in  Levey  as  a  Universal  representative 
might  thus  have  been  broken  down,  and 
why  it  might  have  become  necessary  for 
him  then  to  look  for  greener  fields. 

Upon  leaving  Universal  Levey  was 
not  long  in  eclipse.  In  May,  1921,  he 
announced  the  formation  of  National 
Non-Theatrical  Pictures,  Inc.,  with  New 
York  headquarters  at  130  West  4Sth 
Street,  in  the  Leavitt  Building.  He  was 
president,  of  course.  There  were  to  be, 
he  said,  forty-two  branch  offices  over  the 
country  which  were  to  supply  films,  pro- 
jectors, screens,  and  all  the  other  equip- 
ment necessary.  It  was  really  1922,  how- 
ever, before  his  new  organization  attained 
its  stature  and  before  he  was  joined  by 
his  valued  second-in-command,  Don  Car- 
los Ellis.  Ellis,  it  will  be  recalled,  had 
been  director  of  educational  films  at 
Universal  with  Levey  until  1920,  and 
before  that  he  had  been  in  charge  of 
the  motion  picture  section  of  the  U.  S. 
Department  of  ,^gricuIture.  He  came  to 
Levey  now  as  corporation  director  and 
secretary. 

The  "branches"  seem  to  have  been 
offices  of  independent  dealers  in  films  and 
equipment  who  now  had  taken  on  addi- 
tional concessions.  What  apparently  was 
done  to  provide  the  impressive  list  of 
pictures  which  was  advertised  was  mainly 
to  arrange  with  those  dealers  to  handle 
any  Levey  product  which  might  come 
along,  on  commission,  and  to  interchange 
with  other  dealers,  through  Levey's  office 


tion,  and  war  services  of  a  coast-to- 
coast  airline. 

A  Teacher's  Manual  gives  full  de- 
scription of  each  of  the  sixty-three 
pictures  in  the  filmstrip,  and  suggests 
questions  for  further  study. 

The  film  and  manual  are  presented 
free  to  schools  by  United  .Air  Lines. 
Schools  desiring  the  strip  should  address 
requests  to  the  Society  for  Visual  Edu- 
cation, 100  East  Ohio  Street,  Chicago, 
as  distribution  is  being  taken  of  by  that 
company. 

New  Slide  Binders  for 
Kodachromes 

The  Clay-.Adams  Company,  44  East 
23rd  St.  New  York,  annoinices  .Adams 
Slide  Binders — a  combination  cardboard 
and  glass  binder  for  which  they  claim  the 
follow  ing  features :  protection  against 
dust,  fingermarks,  and  scratching,  and 
breakage  of  the  glass. 

The  film  is  automatically  centered  in 
the  binder  and  the  binding  operation 
should  require  scarcely  more  than  a 
minute  per  slide.  The  use  of  combin- 
ation cardboard  and  glass  gives  a  thinner 
and  lighter  bound  slide.  These  binders  are 
sold  in  boxes  of  100  at  $3.50  per  100,  with 
discounts  for  larger  quantities.  Litera- 
ture will  be  sent  on  request  to  the  com- 
pany. 


as  a  clearing-house,  any  films  which  they, 
themselves,  individually  possessed.  For 
instances,  the  Burton  Holmes  films  were 
made  available  through  Levey's  concern, 
as  were  those  of  the  magazine  Field  & 
Stream.  And,  of  course,  for  Levey's  own 
"product,"  there  were  always  the  for- 
eign spectacular  productions  which  were 
brought  to  this  country  in  expectation 
of  theatrical  release.  When  their  brokers 
were  disappointed  in  that,  these  produc- 
tions were  almost  invariably  offered,  for 
what  they  might  bring,  to  tlie  churches, 
schools  and  clubs  of  the  far-flung  main- 
land of  -America.  That  was  how  the  three- 
niillion-dollar  Old  Testament  pictures, 
produced  in  Italy  with  the  assistance  of 
the  Government  there,  came  to  be  spon- 
sored by  Harry  Levey  non-theatrically  in 
1922.  As  a  matter  of  fact,  in  Levey's 
case,  while  the  arrangement  was  pre- 
mised on  prevailing  circumstances  in 
which  foreign  productions  were  unable 
to  find  normal  markets,  it  was  not  cas- 
ual, because  the  investors  in  National 
Non-Theatrical  Pictures  included  the 
Weiss  Brothers,  a  leading  import  house. 
It  was  Lou  Weiss  who  brought  in  the 
Old  Testament  series. 

Levey  appears  to  have  arranged  also 
for  health,  surgical  and  social  service  films 
whose  owners  were  attracted  by  what 
seemed  to  be  a  real  opportunity  at  last 
to  enjoy  the  benefits  of  a  properly  organ- 
ized distribution.  His  treasure  trove  for 
schools  comprised  chiefly  the  "Text- 
Films"  of  T.  K.  Peters  which,  in  1920, 
had  been  unhappily  announced  for  New 
York  City's  classrooms. 

(To  be  confinuccf) 


Additional  Valuable  Literature  — 


"1000  AND  ONE"— The  Blue  Book  of  Films 

"lOOU  and  ONE"  The  Blue  Book  of  Non-Theatrical  Films, 
published  annually  is  famous  in  the  field  of  visual  instruction 
as  the  standard  film  reference  source,  indispensable  to  film 
users  in  the  educational  field.  The  NEW  EIGHTEENTH 
EDITION  lists  and  describes  over  5,000  films,  classified  into 
176  different  subject  groups  (including  large  groups  of  enter- 
tainment subjects).  A  valuable  feature  is  a  complete  alpha- 
betical list  of  every  film  title  in  the  directory.  Other  infor- 
mation includes  designation  of  whether  a  film  is  available  in 
16mm,  or  3Smm,  silent  or  sound,  number  of  reels  and  sources 
distributing  the  films,  with  range  of  prices  charged. 
132  pp.  Paper.  Price  75c.  (2Sc  to  E.  S.  subscribers) 

FILM  EVALUATION  SUPPLEMENTS  TO 

"1000  and  ONE"  under  The  National  Film  Evaluation  Project 

A  new  and  unique  service  to  the  teaching  field.  Film  Evalua- 
tions made  by  nation-wide  Judging  Committee  of  over  500 
teachers  after  actual  use  of  the  films  with  classes. 

Each  Supplement  consists  of  SO  standard-size  library  cards 
carrying  detailed  evaluations  of  50  films,  based  on  combined 
scores  of  15  or  more  teachers  on  each  film.  Three  Supplements 
have  appeared  to  date.  Another  appears  as  soon  as  SO  more 
films  attain  their  quota  of  15  or  more  scores. 

Price  per  Supplement — 50  cards  in  carton,  serially  numbered 
1  to  50,  51  to  100,  101  to  150,  etc.,  with  full  explanations  ac- 
companying, SO  cents  (postpaid  if  cash  with  order.) 

VISUALIZING  THE  CURRICULUM 

By  C.  F.  Hoban,  C.  F.  Hoban,  Jr.,  and  S.  B.  Zisman. 

Presents  in  theory  and  in  practice  the  basic  methodology  of 
visual  instruction  in  relation  to  classroom  procedure.  Pro- 
vides an  abundance  of  technical  guidance  in  the  form  of 
illustrative  drawings  of  photographs,  reports  of  school 
journeys,  suggestions  for  mounting  materials,  for  making 
slides,  film  strips,  etc.  It  incorporates  up-to-date  material, 
provides  a  fine  balance  in  the  treatment  of  various  teaching 
aids,  evaluates  various  types  of  aids,  and  defines  the  functions 
and  values  of  each  in  the  learning  process. 
320  pp.  Cloth.  Illus.  Price  $2.75.(20%  discount  to  schools) 

THE  AUDIO-VISUAL  HANDBOOK  (4th  Edition) 
By  Ellsworth  C.  Dent 

Presents  in  convenient  form,  practical  information  for 
those  interested  in  applying  visual  and  audio-yisual  aids  to 
instruction.  The  six  chapters  include  discussions  on  "The 
Status  of  Visual  Instruction,"  "Types  of  Visual  Aidsand 
Their  Use,"  "Types  of  Audio-Visual  Aids  to  Instruction," 
"Types  of  Sound  Aids  for  Schools,"  "Organizing  the  Audio- 
X'isual  Service,"  "Source  List  of  Materials  and  Equipment." 

212  pp.  Illus.  Cloth.  Price  $1.75 

AUDIO-VISUAL  AIDS  TO  INSTRUCTION 
By  Harry  C    McKown  and  Alvin  B.  Roberts 

A  practical  volume  which  shows  the  teacher  and  adminis- 
trator how  to  select,  organize,  and  utilize  audio-visual  aids  of 
all  types,  in  all  subjects,  and  at  all  levels,  from  kindergarten 
through  the  twelfth  grade.  Primary  emphasis  is  on  actual 
practice  and  every  effort  has  been  made  to  include  specific 
information  and  advice  which  will  be  most  helpful  in  the 
classroom.  384pp.  Cloth.  Illus.  Price  $3.00 


PICTURE  VALUES  IN  EDUCATION 
By  Joseph  J.  Weber.  Ph.  D. 

Presents  in  unusually  interesting  form  the  results  of  the 
extended  investigations  on  the  teaching  values  of  the  lantern 
slide  and  stereograph.     156  pp.  Cloth.  Illus.  Price  $1.00 
(67c  to  E.  S.  subscribers) 

AN  ALTERNATIVE  FOR  REVOLUTION  AND  WAR 
By  Albert  E.  Osborne. 

A  stimulating,  wide-range  view  of  the  higher  potentialities 
of  visual  instruction  in  promoting  world  harmony  by  a  "more 
humanity-centered  education."  A  pertinent  reply  to  H.  G. 
Well's  dictum  that  the  "future  is  a  race  between  education 
and  catastrophe."  124  pp.  Cloth.  Price  $1.25. 

EVALUATION   OF  STILL  PICTURES  FOR 
INSTRUCTIONAL  USE.    By  LeUa  Trolinger 

A  full  presentation  of  the  latest  piece  of  research  on  de- 
termination of  teaching  values  of  pictures.  Development  of 
the  Score  Card  and  elaborate  experiment  in  use  of  same.  Full 
documentation,  tabulation  of  results,  and  appendices.  The 
latest,  most  complete  and  scholarly  investigation  of  a  problem 
in  the  visual  teaching  field  that  has  long  needed  such  a 
solution.  48  pp.  Paper  Illus.  Price  50c. 

PRODUCING  SCHOOL   MOVIES 
By  Eleanor  Child  and  Hardy  R.  Finch 

Based  on  first-hand  experiences  of  the  authors  and  those 
of  many  other  teachers  and  movie  enthusiasts.  Chapters  are 
"Organization  (of  a  Club) ;  Choosing  the  Idea;  The  Scenario; 
Buying  Equipment;  Using  the  Equipment;  Filming  the  Pic- 
ture; Advanced  Techniques;  Final  Preparation  and  Showing. 
A  welcome  book  to  those  who  want  movie-making  explained 
in  simple  terms.  151  pp.  Paper.  Illus.  Price  $1.50. 

SELECTED   FILMS   FOR  AMERICAN   HISTORY 
AND  PROBLEMS.    By  WiUiam  H.  Hartley 

Part  I  gives  directions  for  obtaining,  evaluating  and  utiliz- 
ing films.  Part  II  comprises  a  fully  annotated  catalog  of  the 
most  useful  filrns  for  illustrating  various  aspects  of  American 
Civilization.  Title  of  film,  length,  whether  sound  or  silent, 
production  date,  producer,  sale  and  rental  price  and  grade 
level  suitability,  are  given.  Also  synopsis  of  film  content. 
Suggestions  are  offered  concerning  most  effective  application 
of  the  film  to  the  teaching  situation. 

275  pp.  Cloth.  Price  $2.25. 

THE  USE  OF  VISUAL  AIDS  IN  TEACHING 
By  Ella  Callista  Clark,  Ph.  D. 

Brief,  clear,  concise,  authoritative.  An  attractively  printed 
manual  of  procedure  for  all  visual  aids  in  teaching,  with 
stimulating  suggestions  for  the  inexperienced  teachers  as 
well  as  for  the  veteran. 

24  pp.  Paper  Illus.  Price  25c. 

HOW   TO   MAKE   HAND-MADE   LANTERN   SLIDES 
By  G.  E.  Hamilton  24  pp.  Paper.  Price  10c. 

THE  STEREOGRAPH  and  LANTERN  SLIDE 
IN   EDUCATION.     By  G.  E.  Hamilton. 

The  most  comprehensive  discussion  yet  published. 

47  pp.  Paper.  Price  15c. 


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Price  of  E.  S. 

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Visualizine    the    Curriculom 2.75  D  2.75  n 

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Tho  Audio-Visual  Handbook 1.75  PI  1.7B  PI 

Audio-Visual    Aids    to    Instruction 3.00  D  3.00  Q 

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Picture    Values    in    Education 1.00  n  .67  O 

Evaluation  of  Still   Pictnrta 60  D  -50  □ 

Producinsr     School     Movies 1.50  O  1.50  D 

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The  Educational  Screen 


TJTTTDT     T^tlP^^       S  T3T  ^  "^^a^®  Directory 

Xl£j£v£j       X   XJLu   ±        X^XVU  for  the  Visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425  Williams  St.,  Denver,  Colo. 

Bailey   Film   Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  page  185) 

Better  Films  (2) 

742A  New  Lots  Ave.,  Brooklyn,  N.Y. 
(See  advertisement  on  page  186) 

Bray  Pictures  Corp.  (3,  6) 

729   Seventh   Ave.,    New   York  City 

(See  advertisement  on  page  180) 

Castle  Films  (2,  5) 

RCA  Bldg.,  New  York  City 

(See  advertisement  on  page  157) 

College  Film  Center  f3,  5) 

84   E.   Randolph  St.,   Chicago. 
(See  advertisement  on  page  186) 


Creative  Educational  Society 
4th  Fl.,  Coughlan  Bldg. 
Mankato,  Minn. 


(1) 


DeVry  School  Films  (3) 

1111  Armitage  Ave.,  Chicago 

(See  advertisement  on  page  1-'J8) 


Eastman  Kodak  Co. 

Teaching  Films  Division 
Rochester,  N.  Y. 

(See  advertisement  on  page  183) 


(3) 


Eastman  Kodak  Stores,  Inc.  (3) 

Eastman   Classroom   Films 
356  Madison  Ave.,  New  York  City 

Father  Hubbard  Educational  Films  (2) 

188  W.  Randolph  St.,   Chicago 
Santa  Clara,  Calif. 

(See  advertisement  on  page  178) 

Films,   Inc.  (3) 

330  W.  42nd  St.,  New  York   City 

64  E.  Lake  St.,  Chicago 

314  S.  W.  Ninth  Ave.,  Portland,  Ore. 

General  Films,  Ltd.  (3,  6) 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  45th  St.,  New  York  City 

(See  advertisement  on  page  180) 

Hoffberg  Productions,  Inc.  (2,5) 

1600  Broadway,  New  York  City 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  page  189) 

Knowledge  Builders  Classroom  Films 

35  VV.  4Sth  St.,  New  York  City  (2,  5) 

Post  Pictures  Corp.  (3) 

723  Seventh  Ave.,  New  York  City 

The  Princeton  Film  Center  (2) 

106  Stockton  St.,  Princeton,  N.  J. 


Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd.,  St.  Lonis,  Mo. 
(See  advertisement  on  page  186) 

Texas  Visual  Education  Co.  (3) 

305   West    10th   St.,    Austin,   Tex. 

Universal  Pictures  Co.,  Inc.  (5) 

Rockefeller  Center,  New  York  City 

Vocational  Guidance  Films,  Inc.        (2) 
2718  Beaver  Ave.,  Des  Moines,  la. 

Warren's  Motion  Pictures  (3) 

253  Chestnut  St.,  Dayton,  O. 
(See  advertisement  on  page  187) 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 

918  Chestnut  St..  Philadelphia.  Pa. 

Y.M.C.A.  Motion  Picture  Bureau       (3) 
347  Madison  Ave.,  New  York  Citv 
19  S.  LaSalle  St.,  Chicago 
351  Turk  St.,  San  Francisco,  Cal. 
1700  Patterson  Ave.,  Dallas,  Tex. 

MOTION  PICTURE 

MACHINES  and  SUPPLIES 

The   Ampro    Corporation  (3) 

2839  N.  Western  Ave.,  Chicago 

I  See  advertisement  on  page  161) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  page  185) 

DeVry  Corporation  (3,  6) 

1111   Armitage  Ave.,   Chicago 

fSee  advertisement  on  page  158) 


Eastman  Kodak  Stores,  Inc. 

Kodascope   Libraries 

356  Madison  Ave.,  New  York  City 


(3) 


General  Films,  Ltd.  (3,  6) 

1924   Rose    St.,   Regina,   Sask. 
156  King  St.,  W.  Toronto 

Ideal  Pictures  Corp.  (3,  6) 

28   E.   Eighth   St.,   Chicago 

(See  advertisement  on  page  189) 

RCA   Manufacturing   Co.,   Inc.        (2) 

Educational  Dept.,  Camden,  N.  J. 

(See  advertisement  on  page  177) 

S.  O.  S.  Cinema  Supply  Corp.  (3,  6) 

449  W.  42nd  St.,  New  York  City 

Texas   Visual   Education   Co..  (3) 

305  West   10th  St.,  Austin,  Tex.    ' 

Victor  Animatograph  Corp.  (3) 

Davenport,  Iowa 
(See  advertisement  on   inside  front  cover) 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago,  111. 

(See  advertisement  on  outside  back   cover) 

Williams,  Brown  and  Earle,  Inc. 

918    Chestnut    St.,   Philadelphia,    Pa. 


SLIDEFILMS 

The  Jam  Handy  Organization 

2900   E.  Grajid   Blvd..  Detroit,   Mich. 
(See  advertisement  on  page  181) 

Society  for  Visual  Education,  Inc. 

100   E.  Ohio  St..  Chicago,   111. 
(See  advertisement  on  outside  back  cover) 

Visual   Sciences 

Suffern,    New    York 

(See  advertisement  on  page  186) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  (KODACHROME  2x2) 

C.  Edward  Graves 

P.  O.   Box  37.  Areata,  Calif. 
Klein   &   Goodman 

18  S.  10th  St..  Philadelphia,  I'a. 
Society  for  Visual  Education,  Inc. 

100   E.   Ohio   St..   Chicago,    III. 

(See  advertisement  on   outside  back   cover) 

SLIDES  (STANDARD  3 '74x4) 

Ideal  Pictures  Corp. 

28  E.    Eighth   St.,   Chicago,   111. 
(See  advertisement  on  page  189) 

Keystone  View  Co. 

Meadville,  I'a. 

(See  advertisement  on  page  179) 

Radio-Mat  Slide  Co.,  Inc. 
222  Oakridge  Blvd. 
Daytona  Beach,  Fla. 

(See  advertisement  on  page  186) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,   N.   Y. 
(See  advertisement  on    inside   back   cover) 

DeVry  Corporation 

1111  Armitage  Ave.,  Chicago 

(See  advertisement  on  page  158) 

General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Keystone  View  Co. 

Meadville,  Pa. 

(See   advertisement   on    page    179) 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St.,  Chicago,  HI. 

(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St..  Buffalo,  N.  Y. 

(See  advertisement  on  page  160) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 

16 

mm 

silent. 

(2) 

indicates 

16 

mm 

sound. 

(3) 

indicates 
silent. 

16 

mm 

sound 

and 

(4) 

indicates 

3S 

mm 

silent. 

(5) 

indicates 

33 

mm 

sound. 

<6) 

indicates 
silent. 

35 

mm 

sound 

and 

Continuous  insertions  under  one  heading,  $2.00  per  issue;  additional  listings  under  other  headings,  $1.00  each. 


EDUCATIONAL 


SCR 


HE   MAGAZINE   DEVOTED  TO   AUDIO-VISUAL  AIDS   IN   EDUCATION 


^Public  Library 
KfiDsae  City,  Moh 
Teachers  4Jbrai^ 


.  ^'Jblfc  Ubnrj 
Kansas  City,  M*. 


y#^^   ^' 


to  nrv    ncnv/rAn 


I   I  I   M  c  I    O  A  1 


Is  my  school's  projector 
doing  its  patriotic  duty? 


America  needs  your  school  projector — 
needs  it  NOW.'  Don't  let  it  stand  idle.  Don't  let  it  collect  dust 
behind  locked  doors  when  there  are  so  many  vitally  important 
jobs  for  it  to  do  in  this  hour  of  national  emergency.  Keep  it 
busy  in  and  out  of  the  classroom! 

If  your  school  is  not  going  to  be  open  for  summer  classes, 
place  your  school  projector  at  the  disposal  of  community 
groups  and  organizations.  They  need  it .  .  .  for  training  new 
recruits  to  war  production  jobs  .  .  .  for  showing  films  that 
keep  America's  fighting  spirit  at  peak  .  .  .  and  for  many  other 
important  contributions  to  all-out  war  effort. 

Wealth  of  subject  material  available  through 
FILMOSOUND  Library 

You'll  find  it  inspirational  to  peruse  the 
Filmosound  Library  Catalog  and  latest 
bulletins  on  films  now^  available  through 
your  B&H  Visual  Education  dealer  and 
the  Filmosound  Library.  There  are  liter- 
ally thousands  from  which  to  choose, 
covering  every  subject.  You'll  be  sur- 
prised at  the  progress  and  improvement 
which  have  been  made  in  educational 
and  recreational  films.  Send  for  catalog! 


BUY 
WAR    BONDS 


"C"  FOK  BXCELLENCE  .  .  .  one-reel  sound  film  showing  how 
Army-Navy  Award  for  extraordinary  performance  is  won  and  pre- 
sented. Service  charge  50c. 


Bell  &  Howell  Co.,  Chicago;  New  York;  Hollywood;  Washington,  D.  C;  London.  Est.  1907 

MOTION       P  I  C  T  U  R  e       CAMERAS       AND       PROJECTORS 


PRECISION-MADE    BY 


Newest  Filmosound,  typical  Bell  &  Howell 
achievement  in  that  it  maintains  B&H  tra- 
ditional performance  standards  with  very 
limited  use  of  critical  materials.  Available  at 
present  to  armed  forces  only, 

RECONDITIONING    SERVICE-if  your 

Filmo  Projector  needs  reconditioning,  send 
it  in  to  the  factory  during  the  summer  months 
so  that  it  will  be  ready  for  use  when  school 
reopens  next  fall.  AH  work  is  done  by 
factory- trained  technicians.  The  machine 
will  be  returned  to  you  like  new.  See  your 
B&H  Visual  Education  dealer  for  further  de- 
tails and  assistance  in  shipping. 

NEW  LAMPS  cannot  be  supplied  except 
when  old  lamp  accompanies  your  order. 


BELL  &  HOWELL  CO. 

1817  Larcbmont  Ave.,  Chicago.  IlL 

Without  obligation,  please  send  me: 

(  )  Filmosound  Library  Catalog  Supplement  1943A  listing 

preinductlon  and  other  new  training  films. 
(  )  Data  on  Emergency  First  Aid  Films. 
{  )  Catalog  of  British  Information  Service  films. 
(  )  Educational  film  catalog. 
(  )  Detailed  Information  on  Reconditioning  Service. 

1  now  have have  not your  1942  film  catalogs. 

Name 


Address . 
City 


The  EDUCATIONAL  SCREEN 


THE  EDUCATIONAL  SCREEN 
Staff 

Nelson  L.  Greene,  -  -  -  Editor-in-Chief 
Evelyn  J.  Baker  -  Advertising  Manager 
Josephine  Hoffman     -    -    Offiee  Manager 

Department   Editors 

John  E.  Dugan    -    Haddon  Heights,  N.  J. 

Donald  A.  Eldridce    -     New  Haven,  Conn. 

WiLBER    Emmert     -    .    -    -     Indiana    Pa. 

Hardy  R.  Finch     -    -    Greenwich,  Conn. 

Ann  Gale Chicago,  111. 

David  Goodman     -    -    New  York,  N.  Y. 

Josephine  Hoffman    -    -    -    Chicago,  111. 

L.   C.  Larson     -     -     .     Bloomington,   Ind. 

F.  Dean  McClusky    -    Scarborough,  N.  Y. 

Etta  Schneider    -    -    New  York,  N.  Y. 

Editorial  Advisory  Board 

Ward  C.  Bowen,  Chief,  Bureau  of  Radio 
and  Visual  Aids,  State  Education  De- 
partment,  Albany,    N.   Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools,  San  Diego, 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  E.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division,  Uni- 
versity of  Wisconsin,  Madison,  Wis. 

J.^MEs  S.  Kinder,  Director  PCW  Film 
Service,  Pennsylvania  College  for 
Women,  Pittsburgh,  Pa. 

Boyd  B.  Rakestraw,  Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia,  Berkeley,  Calif. 

Paul  C.  Reed,  Head,  Educational  Division, 
Bureau  of  Motion  Pictures,  Office  of 
War  Information,  Washington,  D.  C. 

W.  Gayle  Starnes,  in  charge  of  Audio- 
Visual  Aids,  Department  of  University 
Extension,  University  of  Kentucky, 
Lexington,    Ky. 

Leua  Trolincer,  Secretary,  Bureau  of 
Visual  Instruction,  Extension  Division, 
University  of  Colorado,   Boulder,  Colo. 

W.    W.    Whittinghill,    Director,    Depart- 

Pment   of   Visual   and   Radio   Education, 
Board  of  Education,  Detroit,  Mich. 


VOLUME  XXII                     JUNE,   1943                    NUMBER  SIX 

WHOLE  NUMBER  213 

Contents 

Cover  Picture — Color  Guard  at  U.  S.  Naval  Training  Station, 

Great  Lakes,   Illinois    (U.  S.  Naval  OfRcial   PhotographJ 

Trends  In  Audio- Visual  Instruction L.  C.  Larson  197 

Maps  and  the  War William  M.  Gregory  200 

Pre-lnduction  Training  with 

Audio-Visual  Aids J.  L.  Senechal  202 

The  Diorama  Comes  to  the  Classroom Julia  Van  Fleet  204 

Motion  Pictures — Not  for  Theatres Arthur  Edwin  Krows  206 

The  Film  and  International 

Understanding ...Edited  by  John  E.  Dugan  209 

School-Made  Motion  Pictures Conducted  by  Hardy  R.  Finch  210 

Fifth  Midwestern  Forum  on  Visual  Teaching  Aids 212 

The  Literature  in  Visual  Instruction 

A  Monthly  Digest Conducted  by  Etta  Schneider  214 

The  Department  of  Visual  Instruction  Notes 218 

Summer  Courses  in  Visual  and  Audio-Visual  Instruction,  1943 218 

Film  Reviews 2 1 8 

News  and  Notes Conducted  by  Josephine  Hoffman  220 

Current  Film  News 222 

Among  the  Producers 223 

Here  They  Are!   A  Trade  Directory  for  the  Visual  Field 224 


SUBSCRIPTION  PRICE 

Domastie  $2.G0 

C«nada  „ $2.50 

Foreign    _ $3.00 

SinqU  Coplas 25 


The  EDUCATIONAL  SCREEN  published  monthly  eicept  July  end  August  by  The 
Educational  Screen,  Inc.     Publication  Office,  Pontiac,  Illinois;  Executive  Office,  64 
East  Lake  St.,  Chicago,  Illinois.     Entered  at  the  Post  Office  at  Pontiac,  Illinois,  as 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lake  St.,  Chicago,  III. 


Page  196 


The  Educational  Screen 


Behind  the  Battle 


Motion  Pictures  Refresh  our  Fighting  Men 


i 


Against  a  backdrop  of  rugged  moun- 
tains and  desert  skies,  two  thousand 
American  soldiers  are  enjoying  a  show- 
ing of  one  of  the  latest  Hollywood  films. 
The  scene  is  immediately  behind  the 
battle  lines  at  a  U.  S.  Army  base  where 
our  fighting  men  came  to  rest  and  relax 
before  going  back  into  action. 

Here  the  Army  Special  Service  Units 
make  available  to  the  men  every  type 
of  recreational  material  from  books 
and  athletic  equipment  to  musical  in- 
struments and  amateur  theatrical  sup- 
plies. Most  important,  according  to 
men  in  the  Special  Service  Units,  is  the 
compact  portable  motion  picture  out- 
fits known  as  the  "J"  kits — which  are 
used  to  show  the  films  rushed  by  Air 


Transport  from  Hollywood.  Next  to 
food  and  mail  from  home,  these  out- 
door movies  are  the  most  potent  force 
for  maintaining  morale. 

The  Ampro  Dual  Unit  shown  here 
has  been  adopted  for  use  in  the  "J' 
Kit.  In  building  these  precision  pro- 
jectors to  meet  the  exacting  demands 
of  high  standard  projection  under  the 
most  trying  conditions — Ampro  engi- 
neers are  accumulating  valuable  expe- 
rience that  will  result  in  some 
astonishing  developments  for  post-war 
civilian  projectors. 

Be  sure  your  name  and  address  is  on 
the  Ampro  mailing  list  so  that  you  can 
keep  in  touch  with  these  developments, 
^'rite  today. 


I        \      \ 


PRECISION     CINE     EQUIPMENT 


The  Ampro  Corporation,  2851  N.  Western  Ave.,  Chicago,  Illinois 

AMPRO 


June,  194} 


Page  197 


Trends  in  Audio -Visual  Instruction 


ADDED  impetus  to  the  already  increasing  pro- 
duction and  utilization  of  audio-visual  aids 
has  been  given  by  the  production  and  use  of  in- 
structional programs  for  the  armed  forces.  A  large 
portion  of  these  aids  are  being  produced  by  specialized 
branches  of  the  Army  and  Navy.  Moreover,  about 
eighty  percent  of  the  volume  of  non-theatrical  pro- 
ducers is  devoted  to  production  of  training  aids. 
Furthermore,  such  theatrical  producers  as  Disney  have 
"al)out  ninety  percent  converted  to  making  films  for 
Uncle  Sam."  Other  Hollywood  studios  have  produced 
more  than  one  hundred  training  films  for  the  Army.  It 
is  estimated  that  the  Army  now  has  twenty  thousand 
16mm.  sound  projectors  in  use,  and  the  Navy  over 
ten  thousand.'  Since  officers  in  charge  of  training 
recognize  that  "The  film  is  the  instructor's  assistant, 
not  his  substitute  and  not  his  master,""  they  have  as- 
signed film  utilization  officers  to  training  stations  over 
the  nation. 

To  what  extent  will  this  successful  use  of  audio- 
visual aids  for  imparting  information  and  developing 
skills,  habits,  and  attitudes  essential  to  success  in  the 
various  fields  of  scientific  warfare,  affect  general  edu- 
cational methods  after  the  war?  Frequently  the  best 
way  to  predict  future  developments  in  an  area  is  to 
study  its  history.  Following  a  brief  analysis  of  pre- 
war trends  in  the  purchase  of  equipment  by  schools, 
the  organization  of  film  libraries  by  educational  in- 
stitution and  agencies,  and  the  extent  and  type  of 
film  used  by  classroom  teachers,  the  writer  will  en- 
deavor to  predict  trends  in  this  area  during  the  first 
decade  of  the  post-war  period. 

Progress  in  Audio- Visual  Instruction 
During  the  Decade  Preceding  the  War 

School  Ownership  of  Equipment. — A  study  in  1936 
by  the  American  Council  on  Education,  in  collaboration 
with  the  U.  S.  Office  of  Education,  revealed  that  the 
reporting  schools  owned  458  16mm  sound  projectors.' 
Comparable  studies  in  1940-41  by  the  U.  S.  Bureau  of 
Foreign  and  Domestic  Commerce  disclosed  that  schools 
had  a  total  of  9.861  16mm.  sound  projectors.*  •'■•  On  the 
basis  of  more  recent  surveys  of  equipment  owned  by 
schools  in  three  states  it  seems  reasonable  to  estimate 
that  the  elementary  and  secondary  schools  in  the  nation 


i"16mni.    Field    Expanding   to   Big    Business    Status."   Motion 

Picture  Herald.  April,  1943.  151:15. 
2BeIl,  Reginald.  "Training  Films  in  the  Navy."  Visual  Review, 

Society  for  Visual  Education,  Inc.,  1943.  Chicago,  p.  10. 
".Xmerican  Council  on  Education,  Washington,  D.  C.    National 

Visual  Education  Directory,  compiled  by  Koon  and  Noble. 

1936.     269p. 
■•Department  of  Commerce,  Bureau  of  Foreign  and  Domestic 

Commerce,  Washington,  D.  C.    Survey  of  Motion-Picture 

Equipment    in   Elementary   Schools   in    the    United   States, 

compiled  by  Golden.    1942.    444p. 
"Department  of  Commerce,   Bureau  of  Foreign  and  Domestic 

Commerce.  Washington,  D.  C.  Survey  of  Motion-Picture 

Equipment   in   Colleges  and   High   Schools   in    the    United 

States  and  Its  Territories,  compiled  by  Golden.  1941.  S13p. 


A  stimulating  forecast  of  what  lies  ahead  in  visual 
instruction,  and  concrete  suggestions  for  realizing 
its  possibilities   to  the  full  in  American  education. 

L.     C.     LARSON 

The  School  of  Education  and  Extension  Division 
Indiana  University,  Bloomington 

now  own  approximately  fifteen  thousand  16mm.  sound 
projectors. 

A  large  number  of  school  units  own  one  projector 
which,  it  may  be  assumed,  was  purchased  for  audi- 
torium use.  Additional  equipment  usually  is  not 
purchased  until  the  school  develops  a  planned  pro- 
gram for  classroom  use  of  films.  Table  1  reveals  that 
the  cities  with  a  population  of  over  100,000  own  4.63 
projectors  per  100.000  population.  This  ratio  in- 
creases for  cities  of  50,000  to  100,000  and  for  cities 
of  25,000  to  50.000.  The  data  indicate  that  there  would 
be  a  corresponding  increase  for  cities  and  villages  with 
a  population  of  less  than  25,000,  if  the  population  served 
by  rural  schools  without  electricity  could  be  subtracted 
from  the  total  population. 

When  the  states  are  ranked  on  the  basis  of  number 
of  projectors  per  100,000  population  and  on  the 
economic  ability  of  the  states  to  support  public  edu- 
cation, a  wide  disparity  is  noted.  New  York  State, 
which  ranks  first  in  the  ability  to  support  public 
education,  ranks  41st  in  the  number  of  projectors.  On 
the  other  hand,  Idaho,  which  ranks  34th  in  wealth, 
ranks  third  in  the  number  of  projectors.  The  rank 
correlation  coefTicient  was  .36,  with  a  standard  error 
of  .13.  While  the  degree  of  relationship  is  statistically 
significant,  it  is  low.  There  are  other  factors,  ap- 
parently, which  are  more  important  than  economic 
wealth  in  determining  the  adequacy  of  the  school's 
audio-visual  program. 

There  is  likewise  a  wide  disparity  in  the  ownership 
of  projectors  among  cities  in  each  of  the  population 
categories.  A  city  with  one  and  one-half  million 
population,  in  a  state  which  ranks  eleventh  in  wealth, 

Table  I.  School  Ownership  of  16mm.  Sound  Projectors  by 
Population  Groups 

Population  Population  Population   Population 
less  than       25.000  to  50.000  to         over 
25,000  49,999         99,999         100.000  Total 

Number  of 

Projectors  6,891  655  557  1.758  9,861 

Total 

Population  79,212,583     7,265,871     7,197,832     37,992,989     131.669,275 

Ratio  of  Proj. 

per   100,000  8.07  9.01  7.74  4.63  7.41 


has  260  projectors,  whereas,  another  city  with  ap- 
proximately two  million  population,  in  a  state  which 
ranks  ninth  in  wealth,  has  only  19  projectors !  A  com- 
parison of  cities  within  population  categories  seems  to 
indicate  that  the  factor  which  is  more  important  than 
wealth  is  the  quality  of  leadership  provided  by  the 
local  director  of  audio-visual  education. 


Page  198 


The  Educational  Screen 


Organisation  of  Educational  Film  Libraries.  Prior 
to  the  organization  of  the  Educational  Film  Library 
Association,  the  writer  served  as  chairman  of  a  com- 
mittee which  represented  approximately  one  hun- 
dred institutions  maintaining  film  libraries  that  are 
serving  as  depositories  for  government  films. 

Table  II.  Organization  of  Film  Lending  Libraries  by  Edu- 
cational  Institutions.   1910-42 


Type 

of                  191i)-14 

1915-10 

1920-24 

1925-29 

19.30-34 

19.35-39 

1940-42 

TOTAL 

Institution 

State    University. 3 

5 

2 

1 

2 

13 

10 

,36 

State  College 0 

1 

1 

1 

0 

2 

8 

13 

Private 

University    .  .-,  .0 

0 

0 

1 

2 

I 

2 

6 

Private     College..  0 

0 

0 

0 

0 

3 

2 

5 

Teachers    College. 0 

0 

0 

0 

2 

10 

21 

33 

Junior    College...  0 

0 

0 

0 

0 

1 

2 

3 

State   Dept.   of 

Education     ...  .0 

0 

1 

1 

0 

0 

2 

4 

Public    Museum.  .0 

1 

1 

0 

0 

0 

1 

3 

Public      Library..  0 

0 

0 

0 

0 

0 

1 

I 

TOTAL    3 

7 

s 

4 

6 

30 

49 

104 

Table  II  gives  the  date  of  organization  of  104  of 
these  hbraries.  Of  the  25  film  libraries  organized  prior 
to  1935,  16  were  film  libraries  in  extension  divisions  of 
state  universities  and  colleges.  Seventy-nine  film  lend- 
ing libraries  have  been  organized  since  1935,  33  by  state 
universities  and  colleges,  31  by  teachers  colleges,  and 
11  by  private  universities  and  colleges.  Available  in- 
formation suggests  that  there  has  been  a  proportionate 
increase  in  the  number  of  film  libraries  organized  by 
public  schools  since  1935. 

Utilisation  of  Classroom  Films.  The  number  of  film 
subjects  owned  by  the  film  lending  libraries  varies  from 
less  than  fifty  to  over  two  thousand.  The  practice  of 
these  libraries  is  to  buy  one  print  of  a  subject  and  later 
purchase  the  duplicate  prints  needed  to  meet  requests, 

The  public  school  libraries,  on  the  other  hand,  own 
a  smaller  number  of  titles  and  more  duplicate  prints 
per  title.  School  libraries  usually  duplicate  prints 
before  the  library  reaches  one  hundred  titles ;  whereas, 
the  film  lending  library  will  seldom  duplicate  prints 
until  the  library  has  three  hundred  or  more  titles. 

There  is  likewise  a  wide  variation  among  the  film 
lending  libraries  and  the  city  libraries  with  respect  to 
the  number  of  duplicates  of  each  title.  One  city  with 
a  population  of  over  three  million  and  with  213  sound 
projectors  in  the  schools  frequently  buys  twenty  dupli- 
cate prints  and  may  buy  up  to  forty  duplicate  prints  of 
the  most  popular  subjects. 

At  the  present  time  most  of  the  cities  and  villages 
with  a  population  of  under  50,000  rely  on  educational 
film  lending  libraries  for  classroom  films.  In  one  state, 
schools  in  cities  and  villages  with  populations  under  50,- 
000  own  a  total  of  698  sound  projectors.  If  these 
schools  were  to  make  the  same  intensive  use  of  class- 
room films  as  is  made  in  the  city  mentioned  above 
the  film  libraries  in  that  state  would  need  from  60  to 
140  duplicate  prints  of  the  more  widely  used  class- 
room films.  Most  of  the  104  film  lending  libraries  buy 
one  and  two  prints  of  each  subject.  A  limited  number 
buy  four  or  five  prints  and  not  more  than  three 
purchase  up  to  ten  duplicate  prints  of  any  given 
subject. 


Prediction  of  Trends   in  Audio- Visual   Instruction 
During  the  Decade  Following  the  War 

Purchase  of  Equipment  by  Schools.  At  the  con- 
clusion of  the  war  a  substantial  number  of  over  twenty 
thousand  projectors  owned  by  the  military  forces  will 
probably  be  made  available  for  civilian  use.  These 
projectors,  which  before  the  war  listed  at  over  $400, 
have  been  purchased  by  the  government  for  ap- 
proximately $200  per  projector  and  will  probably  have 
a  salvage  value  of  less  than  $100. 

To  meet  government  requests  during  the  last  two 
years,  equipment  manufacturers  have  developed  mass 
production  methods.  It  is  reported  that  following  the 
war  a  16mm.  sound  projector,  suitable  for  classroom 
use,  will  be  designed  which  can  be  sold  for  around  $150. 
There  is  also  the  possibility  that  the  equipment 
originally  designed  for  the  projection  of  "Soundies"  in 
night  clubs  and  taverns  may  be  adapted  for  class- 
room use.  This  would  mean  a  self-contained  unit  with 
projector,  amplifier,  speaker,  and  translucent  screen, 
which  would  permit  the  showing  of  motion  pictures 
in  a  classroom  equipped  with  ordinary  window  shades. 

The  schools  now  own  approximately  fifteen  thous- 
and sound  projectors.  There  are  approximately  one 
million  elementary  and  secondary  school  teachers 
in  the  nation.  On  the  basis  of  the  evidence  presented 
above,  it  seems  reasonable  to  predict  that  within  the 
first  decade  following  the  war  the  ratio  of  teachers 
to  projectors  will  reach  ten  to  one,  and  schools  will 
own  over  one  hundred  thousand  16mm.  sound  pro- 
jectors. 

Production  of  Classroom  Films.  Both  theatrical  and 
non-theatrical  producers  are  engaged  in  the  production 
of  training  films  for  the  military  services.  At  the  end 
of  the  war,  some  of  these  companies  will  organize  de- 
partments for  the  production  of  educational  films. 
At  the  present  time,  the  major  producer  of  16mm  edu- 
cational sound  films  is  Erpi  Classroom  Films,  Inc. 
An  incomplete  study  of  titles  and  number  of  prints 
owned  by  libraries  indicates  that  of  the  one  hundred 
most  common  titles,  over  ninety  will  be  Erpi  subjects. 
Theatrical  shorts  are  now  available  to  schools  through 
the  Teaching  Film  Custodians.  Erpi  films  cost  $45  per 
reel  and  the  theatrical  shorts  may  be  leased  for  $25  per 
reel.  A  comparison  of  the  twenty  most  popular  subjects 
released  by  Erpi  and  Teaching  Film  Custodians  since 
1939  reveals  that  schools  are  purchasing  several  times 
as  many  prints  of  Erpi  films  as  they  are  of  Teaching 
Film  Custodians  films.  While  some  of  the  non- 
theatrical  producers  of  industrial  films  have  prepared 
films  for  school  use,  only  a  limited  number  of  libraries 
have  purchased  prints.  This  evidence  clearly  indicates 
that  teachers  are  most  interested  in  films  which  correlate 
closely  with  courses  of  study.  Does  the  film  provide 
potential  learning  experiences  which  will  contribute 
to  the  achievement  of  course  objectives?  This  is  the 
first  criterion  applied  by  teachers  in  the  selection  of 
films.  Grierson  points  out  in  an  article  on  the  need 
of  films  for  teaching  citizenship,  "It  is  not  the  technical 
perfection  of  the  film  that  matters,  nor  even  the  vanity 
of  its  maker,  but  what  happens  to  that  public  mind."* 

It  is  unlikely  that  all  producers  will  be  able  to  main- 
tain the  educational  staff  necessary  for  the  preparation 


"Grierson,  John.  "The  Documentary  Idea — 1942.' 
October  1942.  3:7-8. 


Films  News, 


June,  1943 


Page  199 


of  scenarios  for  classroom  films.  The  writer,  therefore, 
l)redicts  that  producers  of  educational  films  will  follow 
the  pattern  that  has  been  developed  by  publishers 
of  textbooks.  In  1876,  33  percent  of  the  authors  of 
textbooks  were  members  of  editorial  staffs  or  pro- 
fessional writers,  and  by  1926,  this  proportion  had  de- 
creased to  8  percent.'^  At  the  present  time,  certainly 
95  percent  of  the  authors  of  textbooks  for  all  edu- 
cational levels  are  engaged  either  in  college  or  public 
school   work. 

Heretofore,  specialists  in  the  academic  fields  have 
had  little  or  no  experience  in  the  use  of  the  film 
medium.  A  number  of  the  younger  men  now  in  the 
service  will  have  had  the  opportunity  to  work  eitlier 
with  film  production  units  or  to  use  films  for  train- 
ing purposes.  Producers  will  undoubtedly  select 
authors  for  preparation  of  scenarios  from  these  men,  on 
their  return  to  teaching  and  research  positions  in 
colleges  and  schools.  The  author  of  the  scenario  in 
the  subject  matter  field  will  cooperate  closely  with 
the  director  of  audio-visual  aids  in  the  college  or  school. 
The  production  company  will  pay  the  subject  matter 
.specialist  and  director  of  audio-visual  education  a 
royalty  based  on  .sale  of  prints. 

Production  companies  are  interested  in  the  number 
of  prints  which  may  be  sold  of  a  film  which  correlates 
closely  with  units  included  in  representative  courses  of 
study  on  the  elementary  and  secondary  levels.  For 
example,  about  eighty  thousand  elementary  classes 
will  deal  each  year  with  "Man's  Adaptation  to  Physical 
Environment  in  Low  Lands."'  Approximately  sixty 
thousand  .secondary  classes  will  study  each  year  "The 
Function  of  the  Heart  in  the  Circulation  of  Blood." 
Consequently,  the  writer  predicts  that  within  the  first 
post-war  decade  the  sale  of  prints  of  film  subjects 
which  deal  with  the  more  important  concepts  will 
reach  3.200  prints  for  elementary  films  and  2,500 
prints  for  secondary  films  or  a  ratio  of  one  print  for 
each  25  classes. 

Organization  of  Educational  Film  Libraries.  Trends 
in  organization  of  film  libraries  during  the  pre- 
war decade  will  continue  in  an  accelerated  fashion 
during  the  post-war  decade.  StafT  members  now  in 
the  military  services  who  have  used  audio-visual  aids 
for  training  purposes  will  provide  leadership  and,  as 
directors  of  audio-visual  instruction,  will  be  able  to  help 
teachers  in  the  selection  and  use  of  these  aids.  Larger 
.school  systems  will  organize  film  libraries  rapidly  as 
soon  as  restrictfbns  on  the  sale  of  projectors  are  re- 
moved. Smaller  schools  will  increase  instructional 
budgets  to  enable  the  director  to  order  needed  films 
from  educational  film  lending  libraries.  Schools  will 
probably  follow  the  policy  of  buying  a  print  of  a 
subject  when  the  annual  service  and  tran.sportation 
charges  for  the  use  of  any  subject  exceed  from  one- 
tenth  to  one-fifth  of  the  cost  of  a  print.  Cities  with  a 
population  of  25,000  will  have  10  to  15  teachers  for 
each  of  the  elementary  grades.  Therefore,  the  writer 
predicts  that  a'  substantial  number  of  the  405  cities  with 
a  population  of  over  25,000  will  establish  film  libraries 
within  the  first  post-war  decade. 

'Richey,  Herman  G.  "The  Professional  Status  of  Textbook 
Authors."  The  Textbook  in  American  Education,  National 
Society  for  the  Study  of  Education,  Thirtieth  Yearbook, 
Part  II,  1931.    p.  74. 


Since  evidence  points  to  the  truth  of  the  maxim, 
"Teachers  teach  as  they  were  taught,  rather  than  as 
they  were  taught  to  teach,"  instructors  in  teacher- 
training  institutions  in  both  the  academic  and  pro- 
fessional areas  must  be  encouraged  to  use  films. 

Higher  institutions  operate  on  limited  budgets.  A 
study  of  library  facilities  of  sixty  teachers  colleges, 
by  Rosenlof,  in  1928,  revealed  that  selected  teachers 
colleges  were  spending  annually  an  average  of  $2,129.31 
for  books,  periodicals  and  new  equipment.'*  Even  if  the 
teachers  colleges  were  to  s])end  as  much  money  for 
films  as  they  are  now  spending  for  books,  the  amount 
would  be  insufficient  to  organize  a  film  library.  The 
writer  believes  that  teacher-training  institutions  in 
organizing  film  libraries  will  follow  the  pattern  estab- 
lished by  colleges  of  medicine  maintaining  hospitals 
for  instruction  and  research  purposes.  While  some 
colleges  will  budget  annually  more  than  a  million  dol- 
lars for  hospital  service,  income  from  patients  wull 
reduce  this  amount  to  one  or  two  hundred  thousand 
dollars,  to  be  charged  against  training  and   research. 

There  are  several  hundred  institutions  preparing 
teachers  for  the  elementary  and  secondary  grades.  The 
writer  predicts  that  by  the  close  of  the  first  post- 
war decade  approximately  five  hundred  public  and 
private  universities  and  colleges  will  have  film  libraries. 
These  institutions  will  operate  film  lending  libraries 
on  a  service  charge  basis  for  schools  in  the  immediate 
geographic  areas.  Teaching  aids  services  which  operate 
on  a  budget  of  $30,000  to  $50,000  should  have  an  in- 
come from  service  charges  of  $25,000  to  $35,000.  leav- 
ing a  balance  of  $5,000  to  $15,000.  to  be  charged  by 
the  institution  to  training  and  research. 

In  order  to  serve  cities  and  villages  with  a  population 
of  less  than  25,000,  which  comprise  approximately 
sixty  percent  of  the  total  population,  the  five  hundred 
institutional  film  libraries  serving  these  schools  will 
need  to  buy  an  average  of  three  to  five  prints  of  more 
outstanding  classroom  films  to  provide  a  ratio  of  one 
print  to  each  25  classes  covering  the  concept  which 
the  film  treats. 

The  five  hundred  film  libraries  will  also  serve  or- 
ganized adult  groups.  The  writer  further  predicts 
that  an  increasing  number  of  state  and  public  libraries 
will  extend  the  scope  of  their  free  service  to  include 
films  and  radio  transcriptions.  The  state  library  will  be 
a  source  of  films  for  smaller  jjublic  libraries  that  can- 
not afford  to  purchase  films.  A  nvmiber  of  libraries 
will  organize  a  film  information  service  for  organized 
adult  groups.  Requests  for  aids  not  owned  by  the 
public  or  state  libraries  will  be  referred  to  an  in- 
stitutional or  commercial  film  lending  library. 

Departments  or  Bureaus  of  Teaching  Aids.  The 
scope  of  the  services  of  a  film  library  must  be  ex- 
tended beyond  the  physical  distribution  of  films  to  in- 
clude guidance  and  instruction  in  selection,  utilization, 
and  production  of  all  types  of  aids.  The  director  of 
the  department  of  audio-visual  aids,  either  on  the  college 
or  school  level,  must  expect  to  devote  a  portion  of  his 
time  to  working  with  teachers  in  selecting  audio- 
visual aids  on  a  basis  of  potential   usefulness  in  par- 

*Rosenlof,  George  Walter.  Library  Facilities  of  Teacher-Train- 
ing Institutitns.  Bureau  of  Publications,  Teachers  College, 
Columbia  University,  New  York  City.  1929,  n.  119-123. 

{Concluded  on  page  205) 


Page  200 


The  Educational  Screen 


Maps  and  the  War 


A  discussion  of  the  significant  role  played  by  maps 
in  the  present  war  which  will  enlarge  the  average 
reader's  conception  oi  what  maps  can  accomplish. 

WILLIAM    M.    GREGORY 

Western  Reserve  University 
Cleveland,  Ohio 

THE  map  is  a  visual  tool  to  present  geographical 
facts  graphically.  From  the  earliest  date  maps 
have  shown  earth  facts  of  place,  size,  distri- 
bution and  ownership.  Land  survey  maps  were  our 
greatest  interest  during  our  land  hunger  when  we 
were  exploring,  expanding  and  exploiting  our  re- 
sources. During  our  expansion,  other  nations  were 
exploiting  and  mapping  the  world.  The  superior 
world  maps  were  made  in  Germany,  just  as  the  best 
sailing  charts  were  English  and  the  finest  as- 
tronomical charts  were  French. 

The  Germans  were  late  colonizers  and  they 
started  World  War  I  to  obtain  more  land.  They 
lost  what  they  had  and  Haushofer  ascribed  their 
defeat  to  a  lack  of  "global"  understanding. 

The  plan  for  World  War  II  was  laid  by  Pro- 
fessor General  Haushofer  as  he  developed  along 
with  the  maps  a  pseudo-science,  "Geopolitics," 
which  is  a  loose  combination  of  geography, 
economics  and  world  politics.  Geopolitics  con- 
sists of  half  facts  and  aspirations  that  are  organized 
to  inspire  and  justify  German  conquest  by  might, 
terror  and  deceit.  Haushofer  and  his  school  have 
used  many  slogans  to  inspire  and  arouse  his  people. 
These  have  been  applied  to  maps  in  a  most  effective 
manner.  Such  as  "Blut  und  Boden"  (race  and  soil), 
"Macht  und  Raum"  (power  and  area),  and  the  more 
familiar,  "Lel)ensraum"  (living  space  for  Germans.) 
In  connection  with  the  latter,  it  should  be  noted 
that  little  Belgium  has  twice  the  density  of  pop- 
ulation  of  Germany. 

Maps  have  been  given  great  importance  by  Haus- 
hofer who  considers  every  political  map  a  propa- 
ganda weapon  and  he  outlines  the  following  rules 
for  producing  the  most  effective  propaganda  maps : 

1.  Each  map  must  have  a  single  theme  and  point  to 
a  single  conclusion. 

2.  The  intended  effect  should  be  visually  obvious 
without   study  by   the  user. 

3.  Aspirations  as  well  as  facts  are  suitable  for 
maps! 

4.  Dynamic  maps  should  be  distinguished  from  the 

static  maps. 

5.  Color  is  used  for  emphasis  and  always  red  for 
Germany  to  give  the  impression  of  its  strength ! 

6.  The  best  geopolitical  maps  are  those  without 
labels. 

7.  The  map  may  be  made  to  show  the  third  di- 
mension so  as  to  lift  the  political  above  the 
physical  features.  (This  is  applying  the  block 
diagram  to  political  geography.) 

The  above  specifications  as  suggested  by  Haus- 


(1)   Small  State  Threatens  Germany,  from  Survey  Graphic, 
Oct.  1941 — a  Typical  Haushofer  Suggestive  Map. 


hofer  are  useful  to  those  who  use  propaganda  maps 
as  was  done  by  the  German  Library  of  Information 
of  New  York.  Likewise  these  specifications  should 
be  in  the  mind  of  those  who  use  maps  for  in- 
struction as  an  aid  in  detecting  the  errors  of  the 
geopolitical  maps.  Such  over-simplified  maps  leave 
out  much  of  the  truth  regarding  the  conditions  of 
many  geographical  problems.  The  less  of  the  real 
geography  that  a  propaganda  map  shows  the  more 
likely  will  its  false  ideas  be  conveyed  to  the  user. 

The  dynamic  or  "suggestive"  map  is  designed 
to  inspire  action  by  the  user.  These  suggestive 
maps  are  regarded  by  Haushofer  as  the  most 
effective  method  of  getting  the  mass  of  people 
to  accept  ideas.  The  German  dynamic  maps  are 
made  to  inspire  and  encourage  many  kinds  of 
aggression,  expansion,  encirclement,  penetration, 
infiltration,  missioning,  absorption,  etc.  Repro- 
duction of  such  maps  in  the  news  and  in  school 
books  has  given  wide  publicity  to  many  half  truths, 
among  the  youth  and  the  adults  of  Germany. 

To  make  the  dynamic  map  effective  a  few  simple 
symbols  are  used  to  indicate, action.  Of  these  the 
arrow  is  a  good  example  with  its  heavy  barb, 
double  barb,  double,  curved  and  broken  shank.  All 
these  forms,  and  many  others,  have  been  given 
definite  visual  meaning  on  skillfully  drawn  maps. 
The  simple  basic  symbols  are  often  united  into 
forms  with  clear  geometric  patterns  which  sharpen 
and  make  more  clear  the  intent  behind  the  map. 

Besides  the  many  small  symbols  to  suggest  ideas, 
the  Germans  use  large  mass  signs.  (1)  In  the  Czcho- 
slovakia  map,  Germany  is  covered  with  the  Czech  war 
planes  which  threaten  destruction  of  Germany !  This 
map  was  designed  to  hide  the  danger  to  the  Czechs  of 
the  vast  hordes  of  German  planes. 

In  addition  to  the  simple  symbols  the  Germans  have, 
employed  pictographs  on  their  maps.  This  pictorial 
method  of  presenting  statistics  was  "borrowed"  from 
Otto  Neurath  of  Vienna  and  has  been  used  among 
the  German  elementary  schools  and  the  masses.  An- 
other clever  visual  tool  is  the  political  manometer 
which  shows  the  geopolitical  condition  by  combining 


June,   1943 


Page  201 


geographical  weights  and  economic  pressures  at  critical 
and  focal  points. 

It  is  only  possible  in  these  brief  statements  to  give 
enough  of  the  above  methods  to  indicate  that  they  are 
used  with  political,  not  scientific  motives.  They  are 
einplcjyed  expressly  to  drive  home  the  point  of  view  of 
the  German  propagandist,  not  to  teach  geographic  truth. 

Divide  and  rule  is  the  hidden  objective  of  the  atlas, 
"The  War  in  Maps"  prepared  by  Haushofer  and 
others  at  the  Geopolitical  Institute  at  Munich  and 
distributed  in  this  country  by  the  German  Library 
of  Information  of  New  York.  It  contains  "suggestive" 
maps  to  influence  this  country  against  Britain.  It  has 
maps  .showing  how  the  British  threaten  the  Monroe 
Doctrine  in  the  Western  Hemisphere.  (2)  More  than 
ten  of  the  maps  ini])ly  that  the  Briti.sh  are  aggressors 
in  the  jiresent  war  and  some  six  of  the  ma])s  show  the 
righteousness  of  the  German  cause. 

We  have  been  slow  to  answer  these  efTorts  and  it  is 
obvious  that  only  excellent  factual  maps  can  be  used 


(2)    England   a  threat   to   Monroe    Doctrine 

from  The  War  in  Maps,  p.  33 — a  deliberate  use 

of    design   to   exaggerate    British   areas. 

to  combat  these  skillful  proi)aganda  maps  for  words 
do  not  have  the  convincing  power  that  comes  from 
cleverly  made  maps.  Exposure  of  the  falseness  in 
maps  after  the  damage  is  done  is  a  poor  remedy.  It  is 
i)etter  to  have  a  wider  use  of  the  .simple  factual  maps 
ui  our  schools  and  in  the  public  jirint.  Of  course,  under 
the  present  war  stress  the  newspapers,  thru  the  .As- 
sociated Press,  The  United  Press  and  other  agencies, 
print  many  maps  of  the  war  campaigns  but  those  do 
not  remedy  our  past  neglect  of  map  use  for  geographical 
understanding.  The  N'ew  York  Times,  Fortune,  Life, 
Time  and  others  have  done  very  notable  maps  for 
adults  but,  to  be  effective,  larger  groups  must  be 
reached.  For  the  schools  and  youth  it  is  necessary  that 
''^ere  be  a  much  greater  distribution  of  simple  factual 


maps  that  are  adapted  from  Bowman's  "New  World," 
Horrabin's  "Outlines  of  Political  Geography,"  The 
War  Department's  "The  War  Up  To  Now,"  "The  War 
in  Maps"  (New  York  Times),  "Global  War"  by 
Mowrer  and  Rajchman,  and  the  excellent  map  dia- 
grams in  the  British  "Battle  of  Supplies."  Some  of 
the.se  are  war  publications  but  their  .style  and  clear 
])re.sentation  should  be  followed  in  publications  that 
are  designed  for  instruction  in  the  fields  that  our 
schools  have  neglected. 

The  motion  ])icture  can  be  most  effective  in  in- 
terpreting the  simple  map  facts  that  our  educators  have 
obviously  mis.sed.  Moving  map  diagrams  could  present 
certain  phases  of  a  region  visually  and  when  this  is 
combined  with  a  clear  commentary,  the  impression 
would  be  convinciing  and  lasting.  Walt  Disney's 
Saludos  Amigos  illustrates  the  excellent  use  of  color  on 
the  maps  of  Latin  America.  The  Expansion  of  Germany 
has  been  done  in  16mm  1)lack  and  white  and  gives  a 
vivid  impression  of  the  German  aggression.  This  would 
be  an  excellent  topic  for  class  discussion  in  the  secon- 
dary school.  The  Nciv  Geopolitics  or  Hitler's  Plan 
is  a  recent  16  mm  Canadian  release  that  visualizes  the 
fal-seness  of  the  plan.  Planned  Destruction  is  a  com- 
mercial 35  mm  is.sued  by  MGM  that  shows  Haushofer 
and  his  school  at  the  production  of  propaganda  maps. 
A  new  Erpi  film  shows  how  The  Airplane  Changes  Our 
World  Map.  (3)  Its  maps  and  commentary  form  a 
good  basis  for  classes  or  adult  discus.sion  groups.  It 
])resents  in  simple  and  truthful  manner  how  the  dif- 
ferent types  of  maps  were  useful  and  shows  the 
"Heartland"  in  its  relation  to  the  present  air  routes. 

The  above  suggestions  are  made  to  those  who  realize 
that  we  nuist  improve  otir  presentation  of  geography 
by  the  more  skillful  use  of  the  old  and  new  vi.sual 
tools.  If  the  old  Mercators  were  burned  and  a  few 
trained  and  well  informed  geography  teachers  installed 
who  would  use  skillfully  the  modern  tools,  we  would 
soon  recover  from  what  Commissioner  John  ^^^  Stude- 
baker  calls  us,  "the  most  illiterate  geographically  of 
any  civilized  country."  It  is  hoped  that  by  more  map 
in.struction  our  youth  will  obtain  global  ideas  that 
are  not  too  little  nor  too  late. 


(3)  Polar  centered  map  shows  world  centers  to  be 
within  twenty-four  hours  air  travel  time — from  the 
Erpi  film  "The  Airplane  Changes  Our  World  Map." 


Page  202 


The  Educational  Screen 


Pre -Induction  Training  with 
Audio  -Visual  Aids 


P RE-INDUCTION  training  is  sweeping  through 
the  schools  of  the  nation  like  a  tidal  wave.  Driven 
by  the  Inirricane  force  of  military  demand  for 
youth,  and  better  trained  youth,  it  engulfs  many  of  the 
traditional  courses  familiar  but  a  year  ago,  and  leaves 
in  its  wake  numerous  specialized  courses  in  many  fields. 
Some  of  these  courses  are  merely  subdivisions  of  regu- 
lar high  school  subjects  tempered  and  disguised  with 
special  practical  applications,  but  others  are  almost  en- 
tirely new.  Mechanics  offered  for  pre-flight  students 
is  a  subdivision  of  Physics,  while  Aeronautics  con- 
tains much  which  has  never  before  been  offered  to  teen- 
age students. 


Frames   from  the 

Jam  Handy  series 

of   film   slides   on 

pilot    training. 


If  the  other  plane  crosses  from  your  left. 
the  other  pilot  should  change  his  course 
and  give  the  right  of  way  to  yoa 
"The  plane  on  the  right  has  the  right"  ^ 


INCIWASCD 


.   :re«je  the  number  of  horses  t 
,i;i;»t>ie)  we  can  go  somewhat  (iastei 
ag  due  to  the  increase  in  speed  sa-r 
:tra  tKirf*n  However,  movt  fxiwer 
'.■  vh  ■■■      f 'tie  airplane  to  ciunb. 


Emphasizing  the  helpful  role  visual  aids  are  playing 
in  the  revised  high  school  curriculum,  necessitated 
by  the  wartime  need  ior  specially  trained  youth. 

J.     L.     SENECHAL 

Director,  Department  of  Audio- Visual  Education 
High  School,  Willimantic,  Conn. 


Caught  in  the  whirling  current,  many  superintendents 
were  swept  from  their  feet,  and  proceeded  dizzily  to  fit 
into  their  respective  curriculums  these  new  courses  with 
little  forethought  relative  to  jnirpose  and  content  of  the 
courses,  or  to  the  preparation  and  ability  of  their  teach- 
ers to  make  them  practical  and  worthwhile.  Others, 
however,  waited,  and  watched  developments  before 
making  decisions ;  and  still  others,  thanks  to  their  con- 
servative balance,  wisely  supplemented  the  regular 
courses  with  additions  and  modifications  which  would 
satisfy  the  new  demands  imposed  upon  their  schools. 

Pre-induction  training  is  vital,  and  should  be  given 
wherever  it  fits  smoothly  in  the  curriculum,  but  if  it 
falls  upon  tJie  shoulders  of  the  classroom  teacher,  as  a 
more  or  less  foreign  assignment,  it  may  catapult  him 
into  a  state  of  befuddled  uncertainty.  Tliis  uncertainty 
is  bound  to  arise  if  the  teacher  does  not  know  anything 
about  the  subject  matter  he  is  supposed  to  teach,  or 
granting  a  knowledge  of  it,  if  he  has  never  trained  to 
teach  it.  In  either  case  it  is  a  task,  this  teaching  of  pre- 
induction  courses,  which  the  teacher  may  not  accomplish 
unless  he  seeks  innumerable  teaching  aids  to  lessen  his 
work  and  make  his  presentation  clearer  and  more  in- 
teresting. 

To  this  end  he  will  find  many  types  of  teaching  aids, 
or  devices,  which  can  be  used  satisfactorily.  Each  has 
its  own  merit ;  each  must  be  used  differently ;  but  all 
serve  as  a  means  of  communication.     Printed  material 


The  wing-tip  lig-lits  must  he.  visiWc  for 
two  miles.  The  tailiight  must  be  visible 
for  three  miles. 


Courtesy  of  Keystone  View  Co. 

Teaching  aircraft  identification  with  slides 


June,  194} 


Page  203 


of  all  kinds,  radio,  jihonograph  records,  demonstrations, 
displays,  working  models,  slides,  film  strips,  and  motion 
])ictures,  silent  or  sound,  black  and  white  or  in  color, 
are  examples. 

For  teaching  Morse  Code,  no  device  can  serve  better 
its  purpose  as  a  teaching  aid  than  the  ])honograph 
record.  There  is  on  the  market  a  splendid  set  of  twenty 
records  which  is  used  in  several  schools  at  present.  The 
method  of  use  is  simple.  A  record  is  played,  then  played 
again,  and  again,  until  the  student  has  learned  his  lesson. 
He  hears,  at  first,  an  attempt  to  vocalize  the  signal, 
da—,  da,  da  (followed  by  the  signal  dash,  dot,  dot) 
and  he  is  told  that  it  is  the  signal  for  the  letter  D. 
Subsec[uent  lessons  increase  in  difficulty  and  soon  code 
dictation  is  given  which  the  students  take  down,  and 
which  can  later  be  corrected  from  a  key  accompanying 
the  teacher's  manual. 

Records  are  u.seful.  also,  for  ear-training  in  the  lan- 
guages not  only  of  the  allied  nations,  but  also  of  the 
enemy  nations.  .As  they  are  played,  the  student  listens 
to  an  explanation,  a  pronunciation,  and  then,  in  unison 
with  the  voice  on  the  record,  he  attempts  to  pronounce 
himself,  the  letter  or  syllable  .spoken.  The  process  is 
repeated  until  success  is  attained. 

Especially  for  those  who  hope  to  become  pilots  or 
navigators  and  therefore  will  cover  vast  areas  of  the 
earth's  surface,  global  geography  is  valuable,  and  can 
be  made  easier  if  a  globe  of  the  world  is  available.  By 
carefully  studying  a  sixteen  inch  physical  and  political 
globe,  the  student  learns  with  a  piece  of  string,  using 
an  easy  scale  (one  inch  equals  about  five  hundred  miles) 
that  the  .shortest  route  by  air  from  Chicago  to  Moscow 
is  by  way  of  the  north  polar  regions,  and  also  why  .ships 
from  New  York  to  Liverpool  go  by  way  of  Newfound- 
land. On  that  same  globe,  he  finds  highlands  and  low- 
lands, prevailing  wind  directions  and  ocean  currents ; 
gradually  he  forms  a  vivid  mental  map  of  island  dis- 
tribution and  location. 

For  the  astronomer  and  celestial  navigator  the  as- 
tronomical globe  makes  it  possible  for  him  to  under- 
stand more  clearly  declination  and  right  ascension. 
From  it  he  learns  the  constellations  and  their  locations, 
and  soon  finds  the  sixty  .stars  which  he  will  be  required 
to  know,  name,  and  locate  in  post-induction  application. 
In  a  course  in  Aeronautics  given  in  one  Connecticut 
school,  sections  of  Pratt  and  Whitney  motors  are 
demonstrated.  Such  parts  as  valves,  pu.sh  rods,  cam, 
carburetor,  comiectins;  rods,  master  rod  and  crank  .shaft 
are  .seen  and  handled  by  the  class  meml>ers  who  usually 
have  a  good  supply  of  questions  to  ask.  The  demon- 
stration certainly  luakes  the  lesson  clear.  It  is  in  this 
same  class  that  after  actually  pulling  the  cord  on  a 
real  jiarachute  the  students  see  the  cover  snap  open 
and  the  small  pilot  chute  unfold.  In  a  few  moments 
thev  learn  what  a  parachute  looks  like  and  feels  like, 
but  their  most  interesting  experience  is  trying  to  get  the 
cover  closed  again.  Much  energy  is  expended  in  the 
eflfort.  but  with  little  success.  The  lesson  taught  here 
is  that  a  man  luu.st  be  experienced  in  order  to  be  a  para- 
chute packer,  and  that  proper  folding  and  packing  is 
essential  for  safety. 

Practice  in  constructing  vector  polygons  necessary 
in  the  solution  of  navigation  problems  is  given  in  a  class 
in  Plane  Geometry  using  for  the  teaching  aids  only 
maps,   protractors,   compasses,   and   measuring   scales. 


Demonstrating  the  effect  of  a  swift  current  of  air  on  top 

curved  surface  of  plane's  wing,  in  the  Bray  motion  picture 

"Youth  Takes  to  Wings." 

The  diagrams  constructed  include  wind  drift,  radius  of 
action,  interception,  and  wind  correction,  and  involve 
drawing  to  scale,  scale  selection,  laying-out  angles  vyith 
the  protractor,  and  measuring  direction  between  points 
on  a  map.  This  kind  of  work  creates  much  interest 
among  the  students,  and  the  results  are  surprisingly 
good,  considering  the  crudeness  and  inaccurateness  of 
the  tools  used.  It  is  pre-induction  training  at  its  best. 
No  attempt  can  be  made  to  estimate  the  number  of 
in.structors  who  are  using  film  strips  in  their  courses  in 
Aviation.  Theory  of  Flight,  Electricity,  Magnetism, 
Map  Reading,  Machine  Shop,  and  Mechanics.  These 
strips,  or  slides  on  film,  are  very  compact,  require  little 
storage  space  and  may  be  shown  by  anyone  without 
previous  instruction  with  a  small  ea.sy-to-handle  pro- 
jector. They  are  very  plentiful.  One  conqjany  alone 
advertises  seventeen  thou.sand  slides  designed  especially 
to  meet  current  demand  for  accurate  teaching  aids  for 
use  in  the  pre-induction  courses.  These,  however,  are 
for  sale  and  not  for  rent,  although  a  few  kits  may  be 
rented  from  private  owners  and  some  state  defense 
councils. 

In  using  film  strips,  instructors  find  it  an  advantage 
to  be  able  to  project  a  frame  on  a  screen,  and  to  allow 
it  to  remain  there  as  long  as  it  is  necessary,  while  spe- 
cific details  of  the  material  illustrated  are  ex])lained. 
And,  too,  after  a  frame  has  been  removed,  it  can  always 
be  returned  to  the  screen  if  needed  again,  and  only  de- 
sired fraiues  can  be  selected. 

The  motion  picture  film  forms  a  very  large  source  of 
teaching  aids  from  which  the  pre-induction  training 
teacher  can  select.  More  than  one  hundred  and  eighty 
titles  are  included  in  a  list  published  by  the  Office  of 
War  Information.  These  titles  cover  many  fields  and 
are  distributed  through  approximately  a  dozen  govern- 
ment agencies,  free  of  charge  or  for  a  small  service  fee. 
Likewise,  a  rather  extensive  list  is  published  by  the 
Connecticut  State  Defense  Council.  No  rental  fee  is 
charged  by  the  Council  for  use  of  a  film  but  there  is  a 
service  fee  of  fifty  cents  and  transportation.  All  states 
have  depositories,  usually  located  at  the  state  univer- 

(Concluded  on  page  217) 


Page  204 


The  Educational  Screen 


The  Diordma  Comes  to  the  Classroom 


THE  writer  recently  had  occasion  to  use  the  diorama 
as  a  teaching  aid  in  her  social  studies  work.  This 
comparatively  new  medium  is  still  unknown  to 
a  great  number  of  school  people.  But  her  students 
were  so  interested  in  it  that  the  writer  was  prompted 
to  delve  further  into  the  history,  values,  and  applications 
of  the  diorama  for  classroom  pvirposes.  The  results  of 
this  preliminary  investigation  are  presented  below. 

The  diorama  may  also  be  called  the  miniature  habitat 
group.  It  maj'  be  defined  as  a  graphic  reconstruction 
of  a  scene,  in  three  dimensions.  That  is,  it  has  depth,  as 
well  as  width  and  height.  In  its  most  highly  developed 
form,  it  is  a  sort  of  stage  enclosed  in  a  box.  The  word 
"Diorama"  is  derived  from  the  Greek — "dia"  meaning 
"through"  and  "horan"  meaning  "to  see,"  and  means 
literally  "to  see  through." 

Originally  used  as  an  exhibit  in  museums,  it  was 
evolved  partly  from  the  universal  method  of  installing 


What  the  diorama  is,  how  it  functions  in 
the  learning  process,  and  why  it  belongs 
in  the  classroom — by  a  teacher  that  uses  it. 

JULIA     VAN     FLEET 

South  Orange  Junior  High  School 
South  Orange,  New  Jersey 

and  fixed.  In  a  few,  we  find  removable  figures,  i.e., 
those  which  can  be  inserted  in  their  proper  place  in  the 
scene.  These  can  be  easily  constructed  by  students 
of  all  ages.  They  are  especially  desirable  for  the  lower 
elementary  grades,  where  students  are  particularly 
anxious  to  partake  in  or  carry  on  activities.  Occasionally 
we  find  a  diorama  with  moving  parts,  such  as  those  ex- 
hibited in  .store  windows  or  other  large  commercial  ex- 
hibits. 

Perhaps  the  most  important  factor  of  the  diorama  that 
conveys   the  third    dimensional   aspect  is    the    figures. 


A  diorama 
presenting 
a  scene  in 
the  Amazon 
Region. 


information,  on  shelves,  or  in  cases,  all  subjects  re- 
lating to  the  same  thing.  Subjects  pertaining  to  science, 
history  and  ethnology  were  commonly  presented  in  this 
way.  The  great  cost  and  difficulty  of  constructing 
large  groups  of  scenes  and  the  desire  to  show  whole 
villages,  ceremonies  and  events  containing  a  great 
number  of  figures  led  to  the  development  of  miniature 
scenes.  The  further  method  of  placing  these  scenes 
against  background  logically  led  to  the  use  of  the 
curved  background. 

Dioramas  vary  greatly  in  size  and  construction. 
Some  are  very  small,  perha])s  with  an  8x10  inch  front 
and  a  depth  of  4  inches,  in  which  cardboard  cut-outs  are 
placed  to  depict  a  scene.  On  the  other  hand,  the  diorama 
called  "The  City  of  Light,"  which  was  shown  at  the 
New  York  World's  Fair,  was  of  enormous  size,  measur- 
ing a  full  city  block  in  length. 

In  the  majority  of  dioramas,  the  figures  are  stationary 


These  may  consist  of  any  of  the  following  three  forms — 
the  flat  cardboard  figure,  the  half-round  figure  and  the 
three-dimensional  figure.  In  a  true  diorama,  the  latter 
is  desired,  as  it  brings  home  most  vividly  the  third  di- 
mension, which  is  essential  for  a  realistic  reconstruction 
of  the  scene. 

This  aid  to  learning  is  at  present  in  its  infancy,  inso- 
far as  educators  have  been  ready  to  accept  it  in  their 
teaching  program.  The  literature  on  the  subject  is  ex- 
tremely meager,  with  only  one  research  study  having 
been  reported  to  date.  This  is  the  study  by  Dr.  Irene 
F.  Cypher.*  A  good  deal  of  work  in  connection  with 
the  construction  and  school  use  of  this  device  has  been 
performed  by  museums  and  WPA  visual  aids  extension 
projects.   Since  the  diorama  is,  in  essence,  an  adaptation 


1.  Cypher,  Irene  Fletcher.  The  Devetopmctit  of  the  Diorama 
in  the  Museums  of  the  United  States.  Ph.D.  thesis.  New  York 
University,    1942. 


June,  1943 


Page  205 


and  miniature  representation  of  the  museum  habitat 
group,  museum  workers  have  gone  one  step  further  and 
have  brought  this  type  of  visual  representation  into  the 
classroom  by  designing  the  diorama  as  a  portable  aid. 
Thus  the  diorama  has  been  serving  the  same  specific  and 
unique  purpose  in  the  classroom  that  has  been  achieved 
by  a  habitat  group  in  the  museum,  namely,  the  recon- 
struction and  representation  of  a  scene  in  third-dimen- 
sion. 

Two  inherent  characteristics  of  the  diorama  makes  it 
especially  valuable  in  arousing  and  holding  student 
interest.  First,  it  provides  a  setting  in  its  natural  en- 
vironment. It  has  greater  interest  than  a  flat  picture. 
Secondly,  through  faithful  reproduction,  it  presents 
details  of  objects,  people,  and  of  the  environment  to 
such  a  degree  that  the  spectator  is  challenged  to  stop 
and  make  careful  ob.servations.  The  diorama  has  been 
found  to  be  particularly  appropriate  for  use  in  the  teach- 
ing of  hi.story.  geography  and  nature  study,  where  the 
introduction  of  accurate  reconstructions  of  historical 
.scenes  and  environmental  conditions  were  instru- 
mental in  vitalizing  and  awakening  a  new  interest  in 
these  subjects.  However,  it  should  be  remembered  that 
the  diorama  is  designed  essentially  to  represent  a  scene 
in  third-dimension  and  should  be  used  particularly 
when  that  factor  is  essential  to  the  learning  process. 

The  selection  of  dioramas  as  a  tool  of  instruction 
must  receive  considerable  attention  by  educators,  in 
order  to  insure  the  correct  use  of  an  aid  wliich  will  be  of 
material  help  in  the  educative  process.  Unfortunately, 
there  is  a  paucity  of  research  data  on  dioramas.  Few 
criteria  for  their  selection  and  use  have  been  developed. 
Specific  questions  which  should  receive  consideration 
are: 

1.  Is  the  subject  or  theme  of  the  diorama  of  sufficient 
teaching  merit  to  warrant  a  detailed  study  of  the 
scene  ? 

2.  Is  the  scene  selected  one  which  is  particularly 
adapted  to  three-dimensional  visualization?  Would 
a  two-dimensional  presentation  l)e  equally  effective? 

3.  Is  the  factual  content  of  the  scene  accurate  and 
authentic  in  detail  ?  Have  the  proper  colors  been 
used?  Are  the  objects  in  the  round  or  in  the  flat? 
Has  this  factor  any  bearing  on  the  appeal  and  in- 
structional value  of  the  diorama? 

4.  Are  the  scene  and  its  details  sufficiently  large  for 
students  to  be  able  to  see  them  clearly? 

5.  Is  the  diorama  light  enough  in  weight  to  be  port- 
able? 

6.  Is  the  diorama  simple  in  construction,  thus  encourag- 
ing student  con.struction  of  dioramas  of  their  own  ? 

7.  Is  the  cost  of  materials  low  enough  to  warrant 
student  production? 

Trends  in  Audio- Visual  Instruction 

{Concluded  from  page  199) 

ticular  fields  and  in  planning  teaching'  methods  which 
will  capitalize  on  the  unique  contributions  of  each 
type  of  aid  to  the  learning  situation. 

The  scope  of  the  film  library  service  should  be  ex- 
tended to  include  .slide  films,  sets  of  miniature  slides 
and  flat  pictures,  phonograph  records  and  radio  trans- 
criptions ;  object  specimens,  models  and  exhibits : 
graphic  materials,  such  as,  posters,  charts,  and  graphs ; 


Put  Your  Projector  to 
Work  This  Summer! 

The  Office  of  War  Information  is  urging  schools 
and  other  owners  of  16mm  sound  projectors  to 
make  these  projectors  serve  in  the  war  program 
this  summer.  All  available  projection  apparatus 
should  be  used  to  the  fullest  in  ways  which  will  in- 
sure maximum  benefit  to  the  war  eflFort  for  the 
longest  time.  Here  are  five  ways  schools  can  put 
their  projectors  to  work : 

1.  Take  your  projector  into  war  plants.  Offer  its  use 
to  plant  managers,  to  labor  organizations.  Both  Industry 
and  Labor  know  the  value  of  war  films  in  increasing 
production,  in  giving  workers  a  greater  sense  of  partici- 
pation in  the  war. 

2.  Work  with  the  civilian  defense  organization  in  your 
community.  Offer  the  use  of  your  projector  in  warden 
meetings,  in  first  aid  classes.  Get  in  touch  with  the 
Victory  Speakers'  Bureau  in  your  town.  Make  use  of 
your  experience  in  films  by  arranging  programs  for  civil- 
ian groups. 

3.  Make  your  projector  available  to  adult  clubs  and 
organizations  meeting  during  the  summer.  Arrange  regu- 
lar weekly  or  monthly  .showings  of  war  films  to  luncheon 
clubs  in  your  community,  women's  clubs,  fraternal  or- 
ganizations, church  groups. 

4.  Arrange  showings  of  films  at  public  meetings — 
band  concerts  in  public  parks,  war  rallies  in  courthouse 
squares. 

5.  Fit  pictures  into  the  summer  school  program. 
Special  care  should  be  given  to  projector  care 

and  maintenance.  Cleanliness  cannot  be  over- 
emphasized, because  in  addition  to  the  life  of  the 
projector,  it  aflfects  the  life  of  the  film  and  quality 
of  projection. 


and  a  classified  file  of  learning  situations  in  the  com- 
munity available  for  class  visitation.  The  department 
should  carry  on  an  experimental  productiori  pro- 
gram of  sound  motion  pictures,  radio  programs  and 
other  types  of  audio-visual  aids.  A  sound  film  pro- 
duction unit  and  a  FM  broadca.sting  station  can  be 
acquired  for  less  than  $15,000  each.  According  to  the 
inventor  of  Frequency  Modulation  it  will  be  possible 
to  allocate  to  "every  community  one  or  more  channels 
on  the  air  so  that  stations  particularly  adapted  to  local 
needs  can  be  set  up  and  operated  without  interference."* 
Workers  and  students  in  audio-visual  instruction 
believe  that  not  only  will  these  aids  affect  educational 
methods  but  they  may  also  exert  an  important  influence 
on  selection  and  organization  of  content  used  by 
schools  as  a  stimulus  to  learning.  If  audio-visual  aids 
are  to  play  an  important  role  in  the  teaching  process, 
then  producers  and  teachers  need  to  know  more  about 
the  probable  effects  each  type  of  aid  will  produce.  De- 
partments of  teaching  aids  mu.st  undertake  studies,  "to 
find  out  whether  and  to  what  e.xtent  a  given  ty])e  of 
aid  affects  the  attitudes  of  students,  their  acquisition  of 
information,  their  sensitivity  to  social  problems,  their 
ways  of  thinking,  their  interests  or  their  appreciations."'" 


"Armstrong,  Edwin  H.  "Frequency  Modulation  and  Its  Future 
Uses."  The  Annals  of  the  American  Academy  of  Political 
and  Social  Science,  January.  1941.  213:153-61. 

"'Tyler,  Ralph  W.  "The  Classroom  of  the  Future."  Educatiottal 
Srnvii,  June,  1939,  18:197-8. 


Page  206 


The  Educational  Screen 


MOTION  PICTURES- 
NOT  FOR  THEATRES 

By    ARTHUR    EDWIN    KROWS 


Part  48. — No  other  single  attempt  to  solve 
at  one  time  all  of  the  crowding,  conflict- 
ing problems  of  non-theatricals  has  had 
the  ingenuity  or  the  force  of  the  memorable 
and  heretofore  unsung  "Screen  Companion" 


BY  the  summer  of  1923  it  was  pretty 
evident  that  the  National  Non- 
Theatrical  Pictures  Corporation 
had  not  solved  the  problem,  either. 
Yet,  in  the  National  Non-Theatrical 
Pictures  Corporation  Levey  had  built 
up  a  certain  amount  of  good  will,  and 
he  controlled  a  library  containing  some 
obviously  valuable  film.  He  had  done  a 
trail-blazing  executive  job,  and  he 
figured  that  there  should  be  some  sal- 
vage of  property  for  him. 

In  ultimate  agreement  with  this  view 
arose  Wellstood  White,  one  of  the  most 
conscientious,  respected  and  intelligent 
workers  in  non-theatricals.  White  was 
president  of  United  Cinema  Company, 
which  held  exclusive  distribution  rights 
to  the  Graphoscope,  a  patent  screen,  and 
a  small,  select  demonstration  library  of 
religious  and  educational  pictures.  I  had 
known  White  moderately  well  about  a 
year  before  when  he  had  had  office  space 
sublet  from  Walter  Yorke,  in  the  Masonic 
Temple  Building.  White's  pet  idea  for 
exploiting  the  non-theatrical  field  on  a 
large  scale,  was  to  maintain  a  brokerage 
business,  to  buy  in,  from  his  place  in 
New  York,  likely  films  for  the  various 
non-theatrical  libraries  over  the  country, 
on  a  straight  ten  per  cent  commission  for 
service.  That  no  doubt  explained  his 
prompt  interest  in  the  afifairs  of  Harry 
Levey. 

So,  about  the  middle  of  1924,  there 
was  the  inevitable  reorganization  of  Na- 
tional Non-Theatrical  Pictures,  Inc.,  and 
a  new  corporation  replaced  the  old.  This 
was  called  the  General  Vision  Company. 
The  president  was  F.  C.  Pitcher.  I  believe 
that  Pitcher  was  a  Wall  Street  broker. 
He  must  have  believed  pretty  sincerely 
in  the  undertaking  because,  when  the 
end  came,  he  found  it  necessary  to  go 
through  bankruptcy.  But  the  money  his 
company  provided  bought  out  the  ori- 
ginal shareholders,  including  Levey 
and  Kllis,  and  financed  the  expansion 
generated  in  1942.  General  Vision  Com- 
pany acquired  all  the  revelant  interests 
of  national  Non-Theatrical  Pictures, 
Inc.,  and  of  United  Cinema.  Don  Carlos 
Ellis,  while  no  longer  a  stockholder, 
now  became  secretary-treasurer  and  a 
member  of  the  board,  with  active  charge 
of  production  and  tlie  acquisition  of  new 
materials.  Wellstood  White  was  assigned 
picture  distribution  and  the  continued  sale 
of  Graphoscope   Projectors. 

About  a  year  later  the  end  came  into 
view.  I  have  a  clear  mental  picture  of 
Wellstood  White,  seated  alone  at  the 
far  end  of  an  otherwise  empty  room  in 
the  once  imposing  suite  of  offices  at  120 
West  41st  Street,  trying  to  figure  out 
and  reconcile  the  remaining  unhappy 
accounts. .  He  was  the  last  man  there,  of 
course.    One    would    have    expected    him 


to  go  down  with  the  ship,  for  it  had 
been  said  of  Wellstood  White  that  he 
had  "more  financial  integrity  than  any 
other  man  in  the  motion  picture  business." 
In  more  recent  years  he  became  a  star 
salesman  for  a  large  hardware  house 
in  Washington,  D.  C.  Later  still  he 
entered  the  real  estate  business  in  the 
same  city,  glad  to  forget  a  depressing 
chapter  in  his  life.  (I  apologize  for 
reminding  him  of  it  now.) 

Don  Carlos  Ellis,  on  the  other  hand, 
continued.  In  1925  he  became  vice-presi- 
dent and  general  manager  of  Bray  Screen 
Products  and  a  little  later  editor  of 
the  "Bray  Screen  Magazine."  During 
the  unsettled  days  when  modern  talk- 
ing pictures  were  coming  in,  he 
headed  the  educational  film  service  of 
Consolidated  Film  Industries.  Then  a 
close  association  with  the  industrial  de- 
partment of  Pathe  led  to  his  organization 
of  Films  of  Commerce,  an  independent 
enterprise  which  still  did  Pathe  custom 
production.  As  a  non-theatrical  pioneer 
Don  Carlos  Ellis  has  had  a  rich  experi- 
ence. 

"The  Screen  Companion" 

The  third  far-reaching  plan  of  non- 
theatrical  distribution  which  I  have  in 
mind  as  belonging  to  that  now  distant 
silent  films  period,  strikes  mc  as  being 
by  all  odds  the  most  remarkable  because 
of  the  completeness  with  which  it  still 
might  reconcile  and  serve  all  difficulties 
of  the  field  as  it  stands.  It  is  admirable 
to  work  out  an  ideal  system  on  paper, 
as  George  Skinner  did,  and  it  is  useful 
in  its  way,  too,  to  have  a  flatly  commer- 
cial schemes  such  as  that  which  Harry 
Levey  put  into  practice.  But  there  is  place, 
al.so — a  better  place,  I  believe — for  the 
plan  which  is  both  practical  and  idealistic. 

No  man  could  have  been  better  design- 
ed by  nature  to  open  the  way  to  an 
undertaking  of  that  sort  than  Frederick 
S.  Wythe.  Gifted  beyond  most  men  in 
the  motion  picture  industry  in  his  quick 
vision  of  all-embracing  truth  (and  thus 
commanding  in  his  strategy),  he  has 
proved  again  and  again,  as  these  pages 
must  bear  witness,  that  he  is  also  re- 
sourceful in  his  tactics  of  practical  accom- 
modation. 

When  Wythe  brought  his  civics  series 
from  the  Pacific  Coast  to  New  York, 
about  1921 — he  demonstrated  it  late  that 
year  for  the  New  York  City  Visual 
Instruction  .Xssociation  of  Washington 
Irving  High  School^and  was  referred  by 
the  visual  instruction  department  of  the 
city  schools  to  Ilsley  Boone  as  the  man 
who  controlled  the  supply,  he  was  unwit- 
tingly moving  toward  an  entirely  new  and 
a.stonishing  chapter  in  his  experience.  He 
took  office  space  with  Boone,  who,  at 
that  time,  as  already  related,  had  some 


other  interesting  tenants.  Among  these 
was  the  Rev.  John  E.  Holley,  and  Holley 
was  immensely  attracted  to  Wythe.  It 
seemed  to  Holley  that  of  all  those  with 
whom  he  had  held  converse  on  the  sub- 
ject of  non-theatrical  film  distribution, 
in  which  he  was  so  greatly  concerned 
because  of  his  Holy  Land  pictures,  none 
had  a  more  comprehensive  grasp  than 
Wythe. 

In  his  remarkable  first  survey,  made 
in  the  space  of  only  two  or  three  months, 
Wythe  apparently  had  met  everyone  of 
importance  in  the  Eastern  field,  recogniz- 
ing their  merit.s — and  their  limitations. 
.Above  all,  he  realistically  appraised  the 
character  and  magnitude  of  the  problems. 
But  his  mind,  working  as  always  toward 
compensations  for  the  defects  in  the 
view,  showed  him  ways  and  means  to 
provide  them.  With  remarkable  swift- 
ness, he  formulated  a  single  plan  which 
properly  put  into  practice,  might  have 
overcome  many  of  the  difficulties  in 
.American  non-theatricals.  He  did  not 
tell  everybody  about  it  at  first;  but  he 
did  confide  some  of  it  to  Holley.  Holley 
became  sufficiently  excited  over  the  idea 
to  want  to  become  i)art  of  the  realization, 
and,  when  Albert  Krippendorf,  his  own 
wealthy  sponsor,  came  to  New  York 
from  Cincinnati,  he  introduced  Wythe 
and  e!icouraged  him  to  tell  frankly  what 
he  saw  in  this  field.  Wythe  found  Krip- 
pendorf kindly,  intelligent,  sympathetic 
and  definitely  interested,  so  he  did  give 
his  unadorned  opinion  on  the  non-the- 
atrical situation  as  he  had  studied  it. 
When  Wythe  came  to  his  scheme  for 
the  practicable  form  of  service,  Krippen- 
dorf, abetted  by  Holley— although  he 
actually  needed  little  encouragement  then, 
— decided  to  start  the  plan  in  work. 

The  aim  was  to  build  and  to  maintain 
a  system  of  non-theatrical  distribution 
ultimately  to  cover  the  nation,  comprising 
a  number  of  interlocking,  regional  cir- 
cuits. With  an  entertainment  program, 
changing  each  month  as  the  units  moved 
in  rotation  over  the  circuits,  it  would 
provide  circulation  for  advertisers  who 
would,  in  the  main,  be  expected  to  sup- 
port it.  When  Program  A  had  played  its 
month  on  Circuit  No.  1,  it  would  move 
on  to  Circuit  No.  2,  while  Program  B 
supplanted  it  on  No.  1.  Thus  Circuit  No. 
2  would  not  come  into  existence  until 
Circuit  1  had  proved  itself.  So  the  pro- 
grams and  circuits  would  multiply  natur- 
ally and  easily  as  the  plan  justified  fur- 
ther investment. 

Shows  would  be  put  on  by  competent 
projectionists  'With  proper  equipment. 
Their  pay  would  come  from  the  modest 
price  paid  by  the  customer  for  whom 
the  show  would  be  given,  plus  income 
from  the  other  sources  because  the  ma- 
chinery    of    exhibition,     thus     sustained. 


June,   1943 


Page  207 


woukl  be  available  for  use  between  times 
in  schools.  Kven  producers  were  pro- 
vided for,  because,  when  advertisers 
would  contract  for  sufficient  circulation, 
their  pictures  would  be  made  for  them 
without  additional  charge.  And,  when 
the  number  of  shows  reached  a  given 
number,  it  would  pay  to  produce  enter- 
tainment subjects  as  well  as  commer- 
cials. Specifically,  all  this  meant  that  a 
six-reel,  35mni  motion  picture  program, 
with  projectors  screen  and  operator, 
would  be  supplied,  during  an  appointed 
evening,  to  any  church,  school,  club  or 
other  non-theatrical  gathering  of  not  less 
than  two  hundred  persons,  for  only  ten 
dollars.  The  name  of  the  program, 
identical  with  the  name  of  the  enterprise, 
was  "The  Screen  Companion." 

An  ample  suite  of  offices  was  taken  in 
the  Ma.sonic  Temple  Building,  and  a 
staff  of  workers  was  quickly  assembled. 
Wythe,  of  course,  was  the  executive  head. 
Hollcy  was  present,  naturally,  but  he 
was  still  well  occupied  with  the  final 
editing  of  this  Holy  Land  series  and 
could  not  give  full  time  to  the  project. 
In  charge  of  distribution  was  Major 
Ward  M.  Wooldridge,  a  splendid,  sin- 
cere young  man  with  a  proud  war  record 
and  a  Y.M.C..^.  background.  He  was  a 
Pittsburgher.  Part  of  his  value  to  the 
Companion  was  a  close  friendship  with 
Col.  Jason  M.  Joy,  non-theatrical  super- 
visor for  the  Will  Hays  Committee,  under 
whom  he  had  served  in  p-rance.  Presid- 
ing  in   the   advertising   department    was 

'  Eustace  L.  Adams.  He  was  an  even 
younger  man.  He  had  advertising  agency 
experience  and  was  influential  in  his 
contacts  as  a  nephew  jointly  of  Temple 
Bailey,  the  novelist,  and  of  Gertrude  Lane, 
editor  of  the  M^oman's  Home  Companion. 
I,  myself,  was  placed  in  charge  of  pro- 
duction, having  lately  come  from  the 
Chronicles  of  America.  Under  .Adams 
were  Albert  St.  Peter,  the  rough-and- 
ready  quondam  salesman  for  Frank 
Tichenor,  who,  in  a  sort  of  lifelong  em- 
barrassment over  his  family  name,  insisted 
upon  being  called  "Pete;"  a  quiet  but 
dogged  youth  named  Fisher ;  and  a 
sharply  analytical,  direct  young  man, 
William  Wright  Briggs,  who  had  been 
an  assi.stant  account  executive  at  the 
J.  Walter  Thompson  Advertising  .Agency. 
WfK)ldridge  introduced  into  this  circle 
Herbert  L.  Stephen,  a  buddy  who  had 
been  with  him  in  the  Army  and  who 
had  served  in  many  capacities  in  the 
amusement    field.    Stephen    had   been    an 

f  assistant  director  with  the  Thomas  H. 
Ince  organization  at  .Santa  Monica,  a 
property  man  for  Mary  Pickford  in 
Hollywood,  a  theatre  manager  and  a  news- 
paperman in  Los  .Angeles.  Yes,  "Steve" 
had  traversed  many  ups  and  downs ; 
nevertheless  he  had  kept  a  youthful  en- 
thusiasm, an  infectious  laugh  and  a  clear, 
straight  eye  which  won  us  all  instantly 
and  never  to  our  regret.  He  had  come 
with  the  Screen  Companion  ostensibly 
as  a  publicity  man ;  but  he  gravitated 
quickly  to  a  position  as  office  manager, 
with  rapidly  accumulating  executive 
duties  in  charge  of  the  organization's 
finances.  It  was  "Steve"  who  brought  in 
Jack  De  Marr  to  solicit  bookings.  De 
Marr    had    once    been   an    actor.    I    had 


known  him  pleasantly  in  a  New  York 
stock  company  years  before.  In  the  inter- 
val he  had  been  a  salesman,  disposing 
of  goods  far  harder  to  place  than  ours 
would  seem  to  be. 

Wooldridge  had  to  mark  time  at  first 
because,  obviously,  there  could  not  as  yet 
be  any  distribution.  At  the  same  time 
he  was  not  by  any  means  idle,  being  of 
that  nature  which  is  ready  and  eager  to 
undertake  any  part  of  the  work  which 
comes  to  hand.  With  a  view  to  proper 
action,  however,  he  had  engaged  in  addi- 
tion to  De  Marr,  a  man  who  was  to  be 
the  first  projectionist.  This  was  the 
never-to-be-forgotten    Harry    Swartz,  an 


For  more  than  quarter  of  a  century 
Don  Carlos  Ellis  has  used  his  own 
training  as  teacher  to  shape  com- 
mercial   films    to   classroom    needs. 

irrepressible  but  likeable  Jewish  youth 
who  could  do  many  useful  things  and 
if  requested  would  attempt  anything  else. 
For  the  present  Harry  was  a  chauffeur, 
driving  Krippendorf's  fine  car  which  had 
been  left  in  New  York  for  our  conven- 
ience. He  had  once  driven  an  ambu- 
lance in  Boston ;  and  I  never  have  ridden 
with  a  steersman  who  could  weave  so 
speedily  through  heavy  traffic  and  be- 
tween Elevated  Railway  pillars  without 
losing  the  confidence  of  his  passengers. 
.As  a  projectionist  lie  had  been  employed 
by  Frank  Tichenor  in  the  old  Simplex 
rooms. 

In  my  own  department,  there  was  no 
regular  production  as  yet.  Nevertheless, 
there  was  plenty  to  be  done  in  an  editorial 
way  because  it  was  necessary  to  have 
tangible  programs  as  quickly  as  possible. 
My  chief  assistant,  pro  tcm,  was  Larry 
Fowler,  who  had  been  Hollcy's  camera- 
man in  the  Lincoln  tests.  Larry  was 
willing  and  able  enough,  but  from  dawn 
to  dusk  he  was  vastly  amused  by  what 
struck  him  as  being  a  fantastic  adven- 
ture ;  and  now  that  I  look  back  upon  the 
experience,  there  is  something  to  be  said 
for  his  chuckling  point  of  view.  For  the 
present,  between  sessions  with  Holley 
and  the  film  laboratory  on  the  Holy 
Land  material,  Larry  rounded  up  quan- 
tities of  old  theatrical  motion  pictures 
which  might  be  acquired  cheaply  for  the 
assembly    of    our    first   programs.    As    I 


recall,  it  was  he  who  arranged  our  access 
to  the  output  of  the  then  recently  defunct 
Thanhauser  Company  of  New  Rochelle, 
where  he  had  once  been  employed  and 
where  he  had  learned  his  trade. 

Wythe  had  decided  at  first  upon  a  limit 
of  seven  reels  as  proper  for  a  single 
program,  although  it  eventually  became 
six.  It  was  composed  generally  about 
like  this :  The  start  would  be  a  one-reel 
novelty  such  as  "Tony  Sarg's  Almanac," 
with  Major  Dawlcy's  silhouette  anima- 
tion. Came  next  a  slapstick  farce  in 
which  cavorted,  perhaps,  some  of  the 
now-forgotten  Thanhauser  comics.  Then 
came  a  department  called  "Your  Home 
and  Mine,"  consisting  of  a  reel  divided 
int(j  three  sections,  a  trio  of  short  adver- 
tising subjects  dealing  with  such  matters 
as  the  use  of  copper  and  brass  roofing 
and  plumbing  fixtures ;  the  importance 
of  fire  insurance ;  and  possibly,  instruc- 
tion by  a  firm  of  silversmiths  on  setting 
the  table  for  a  formal  luncheon.  After 
that  appeared  a  pleasant  travelogue,  also 
in  one  reel— let  us  call  it  one  of  the 
Chester  subjects  entitled  "The  Hill 
Towns  of  Italy."  Succeeding  that,  in 
turn,  came  another  tripartite  reel  gen- 
erally called  "Your  Health  and  Mine," 
demonstrating,  .say,  the  microscopic  action 
of  Ivory  Soap,  how  Hills  Brothers  bring 
dates  from  "the  Garden  of  Eden,"  in  the 
valley  of  the  Tigris  and  Euphrates,  and 
the  peculiar  virtues  of  Esmond  Blankets. 
Last  of  all  came  a  two-reel  "feature," 
a  wholesome  "family  picture,"  which 
might  be  one  of  the  Woman's  Home 
Companion  series,  carefully  reedited  to 
serve  these  later  needs. 

When  sheer  accident  eventually  obliged 
the  Screen  Companion  to  fold  its  tent 
and  steal  away  into  the  night,  I  used  to 
think  of  its  principle  as  sort  of  trade 
secret  which  should  be  hidden  jealously 
thenceforth  until  it  might  appear  again 
with  Wythe  as  the  engineer.  Its  plan 
was  well  known,  of  course,  during  its 
first  life.  Wythe  made  a  point  then  of 
explaining  its  action  to  schoolmen,  clergy- 
men, advertising  men,  industrialists,  the- 
atrical exchange  men  and  all  others  who 
might  advance  it  by  their  enthusiastic 
understanding.  .And  yet,  when  it  missed 
fire,  notxKly  seemed  to  take  it  up.  It 
appeared  that  those  who  might  have 
done  so  must  have  been  distracted  from 
the  idea  by  .something  more  pressing, 
and  it  seemed  that  heaven  must  have 
been  especially  smiling  to  have  distracted 
them  all  simultaneously. 

But  by  degrees  I  discovered  the  truth. 
Many  unscrujiulous  persons  did  try  to 
take  the  idea.  The  announced  but  unreal- 
ized plan  of  the  National  Association  of 
Manufacturers  in  June.  192,3,  was  sur- 
prisingly like  it.  But  they  failed.  Their 
trouble  was  that  they  lacked  Wythe's 
vision  with  which  to  see  the  entire  pro- 
ject in  one  view.  They  saw  only  the 
immediate  |)rofits  in  single  phases,  and 
this  myopia,  of  course,  was  what  hid 
the  interdependence  of  other  phases.  In 
Wythe's  plan  there  was  something  for 
ever)'  honest  worker  in  the  non-theatrical 
field,  and  to  deprive  any  one  of  his  ju,st 
portion  was  to  upset  the  fine  balance  of 
all  the  re.st.  The  church,  the  school,  the 


Page  208 


The  Educational  Screen 


club,  the  producer,  the  distributor,  the 
projectionist  could  have  their  respective 
shares  of  value.  When  I  realized  the 
shortsightedness  of  those  who  would  not 
take  the  trouble  to  see,  I  hesitated  no 
longer  to  speak  freely  of  the  Screen  Com- 
panion. Those  whose  outlook  on  life  is 
selfish  cannot  steal  it,  and  those  who  want 
it  for  human  service  cannot  take  it  with- 
out benefiting  all,  including  the  man  who 
originated  it. 

The  advertisers  who  were  approached 
with  the  Companion  idea  were  soon  inter- 
ested in  this  possible,  measurable  motion 
picture  circulation  which  did  not  risk 
the  displeasure  of  the  paying  patrons 
in  a  regular  theatre.  By  the  plan  they 
were  given  advance  notice  of  eacfi  show, 
and,  after  each  show,  full  reports  on 
attendance  and  reception.  Programs 
reached  middle  class  family  groups  of 
known  respectability  and  substantial  pur- 
chasing power,  and  reached  them  over 
and  over  again,  month  after  montli.  But 
the  prospective  advertisers  could  not  at 
once  understand  why  each  of  the  six 
ads  in  a  single  program  was  restricted 
to  only  a  third  of  a  reel.  If  the  show 
was  booked,  why  not  take  advantage  of 
the  situation  to  give  the  audience  a  real 
advertising  drive?  But  no,  approximately 
three  hundred  feet  of  35mm  was  the 
limit  at  one  time  for  one  advertiser.  The 
audience  must  be  considered  too.  The 
charge  to  the  individual  advertiser  for 
that  representation  was  about  $3.75  per 
show,  which  could  be  reduced  easily  to 
terms  handsomely  comparable  with  cir- 
culation figures  presented  by  the  national 
magazines. 

Of  course,  Wythe  knew  as  well  as 
anyone  else  that  to  found  a  national 
non-theatrical  distribution  overnight 
would  require  millions  in  capital.  He 
therefore  dismissed  that  thought  of  financ- 
ing as  impractical.  He  worked,  instead, 
to  start  modestly  in  a  single  area,  using 
current  materials  and  existing  establish- 
ments as  logical  economies,  to  their 
advantage  and  to  his,  forging  the  links  of 
his  chain  outward  from  the  first  one 
like  the  growth  of  a  strand  of  algae  in  a 
pond.  The  first  place  chosen  was  naturally 
the  convenient  one — the  New  York  metro- 
politan area.  Within  that  radius  there 
was  little  difficulty  in  booking  shows. 
A  minister,  wavering  between  puttting  on 
a  "lemonade  supper"  or  a  full,  whole- 
some motion  picture  show,  so  nominally 
priced  that  a  hundred  ten-cent  admis- 
sions would  pay  for  everything,  did  not 
hesitate  to  choose  the  show ;  and  he  was 
usually  eager  to  receive  the  program  for 
next  month  on  the  same  terms. 

The  pnjjectionist  was  satisfied  to  take 
for  his  services  the  money  paid,  cash  in 
hand,  at  the  close  of  the  exhibition.  Yet 
that  was  not  his  only  income.  In  the 
morning  he  probably  had  a  screening  of 
educational  films  in  the  school,  or  a  noon 
hour  program  for  the  Chamber  of  Com- 
merce. Even  his  future  was  well  planned, 
for  Wythe  liad  worked  out  an  arrange- 
ment whereby  he  would  eventually  own 
not  only  a  pair  of  De  Vry  Projectors  for 
duplex  equipment,  (it  was  all  35mm  film 
then)  but  also  a  Ford  car  for  carrying 
them    around    to   distant    customers.      In 


Herbert  L.  Stephen's  knockabout 
experience  in  all  phases  of  motion 
picture  production  and  distribution 
made  him  an  ideal  business  manager 
of  the  amazing  "Screen  Companion." 

other  words,  the  Screen  Companion  would 
ultimately  set  the  projectionist  up  in 
business. 

As  to  pictures,  we  were  literally  del- 
uged with  ready-made  subjects  from 
many  quarters,  the  rights  purchasable 
for  a  song  which  Wythe  was  an  adept 
at  singing.  In  looking  them  over  I  think 
that  we  must  have  screened  everything  of 
importance  which  had  reached  the  non- 
theatrical  market  to  that  time.  Wythe 
and  I  worked  night  and  day  assembling 
programs  out  of  the  mass,  editing  and 
retitling  to  meet  our  needs.  This,  of 
course,  was  to  provide  the  "sustaining" 
entertainment  material.  But  the  ready- 
made  advertising  films  were  plentiful, 
too,  industrial  companies  commonly  hav- 
ing in  hand  elaborate  productions  which 
had  lain  idle  because  there  was  no 
proper  distribution  to  carry  them  beyond 
the  reaches  of  the  "free"  libraries.  At 
the  same  time  it  was  no  small  trick  to 
cut  an  eight  thousand-  or  nine  thousand- 
foot  picture  efltectively  to  the  required 
third  of  a  reel.  How  we  did  it,  and  how 
we  won  the  approval  of  the  advertiser 
who  owned  the  subject,  makes  an  inter- 
esting story;  but  telling  it  would  be  too 
much  of  a  digression  here. 

Adventures  in  Advertising 

However,  I  should  not  let  pass,  with- 
out comment,  my  own  casual  use  of  a 
loose  expression,  current  in  the  indus- 
try today,  referring  to  the  entertain- 
nientment  part  of  an  advertising  pro- 
gram as  "sustaining."  That  is  too 
much  like  the  practice  of  sugar-coating 
the  pill.  Wythe  always  held  that  ad- 
vertising content  should  sustain  itself, 
or  we  didn't  want  it.  We  accordingly 
insisted  that  the  advertising  message 
should  be  arresting  and  informative  or 
diverting  for  its  own  sake,  and  thereby 
we  made  certain  that  our  audiences 
also  would  give  it  their  willing  atten- 
tion.    We  never  camouflaged  an  ad. 


Each  advertising  subject  we  ran  was 
introduced  with  a  title  stating  that  the 
material  concerned  had  been  produced 
"in  cooperation  with"  such-and-such  a 
company  (naming  the  advertiser  frank- 
ly), implying  that,  to  obtain  authorita- 
tive information  which  we  had  found 
interesting  enough  to  talk  about,  we 
had  gone  to  someone  in  the  business 
who  really  knew  the  facts — namely,  the 
advertiser.  At  the  end  of  the  program 
we  also  had  a  title  stating  that,  if  any- 
one present  wished  to  learn  more  about 
the  products  which  had  been  advertised 
on  the  screen,  the  projectionist  would 
gladly  supply  printed  literature.  A  sur- 
prising number  then  did  apply,  and 
took  occasion  to  wonder,  at  the  same 
time,  why  theatres  did  not  show  pro- 
grams as  entertaining  as  these. 

The  general  idea  of  making  adver- 
tisers pay  for  the  show  was,  of  course, 
not  new.  Many  others  had  proposed 
it  and  tried  it.  Years  previous  Leon 
Gaumont  had  told  of  one  of  his  dreams 
of  the  future  of  the  motion  picture  in- 
dustry, involving  a  lot  of  theatres 
wliere  the  spectator  would  pay  a  penny 
to  enter  and  advertisers  would  pay 
the  rest — the  way  one  enjoys  popular 
magazines. 

It  quickly  became  apparent  that  our 
particular  big  problem  was  with  the 
advertisers.  When  we  talked  of  want- 
ing advertising  appropriations  com- 
parable with  those  devoted  annually 
to  magazines,  it  became  a  matter  be- 
yond the  small  amount  squeezed  by  a 
company  publicity  department  for 
making  one  commercial  film.  Ad- 
vertising agencies,  finding  that  their 
clients  were  considering  such  expendi- 
tures, became  interested.  Of  course, 
we  wanted  just  that,  for  we  were  cer- 
tain that  we  could  convince  agencies 
as  well  as  their  clients  of  the  worth  of 
our  plan.  Representatives  of  the 
agencies  accordingly  visited  us,  studied 
our  figures  and  viewed  our  specimen 
programs.  With  almost  one  voice  they 
voiced  their  approval.  The  big  fel- 
lows, however,  were  not  satisfied  with 
a  picture  proposition  which  would 
reach  only  New  York's  metropolitan 
area.  Show  us  your  circuits  in  opera- 
tion over  the  other  major  marketing 
areas  of  the  United  States  as  well, 
they  said  in  effect,  and  we  will  join 
gladly.  Of  course,  like  the  large  foun- 
dations which  William  Harmon  used 
to  mention,  they  were  quite  right  in 
refusing  to  experiment — and  then,  too, 
even  for  the  New  York  circuit  we 
had  as  yet  no  provable  results  in  quan- 
tity. 

Nevertheless,  there  were  some  fair- 
sized  enterprises  definitely  interested 
in  this  local  market  and,  like  Har- 
mon's small  foundations,  they  could 
afford  to  take  chances.  The  market 
was  not  precisely  negligible.  It  cover- 
ed, I  believe,  a  population  of  approxi- 
mately ten  million  persons.  One  of 
these  pioneer  patrons  of  ours,  especially 
deserving  of  honorable  mention,  was 
Mueller's    Food    Products,    Inc.      Mr. 

{Continued  on  page  219) 


June,   194} 


Page  209 


The  Film  and  Internationdl  Understanding 


JUST  six  months  ago,  in  December,  1942,  this  de- 
jiartment  was  launched.  It  was  an  experiment  in 
which  Mr.  Greene  had  confidence.  In  the  relatively 
few  months  which  have  intervened  it  has  assumed  a 
position  of  leadership  and  has  served  as  a  focal  point 
for  evolving  ideas  and  practices  in  this  most  rapidly  de- 
veloping field  of  visual  education. 

In  this  month  of  June,  as  we  close  one  academic  year 
and  look  forward  to  another,  some  review  of  the  de- 
partment during  the.se  months  may  he  profitable  and 
give  us  more  indication  of  the  breadth  and  rapidity  of 
development  in  this  field,  as  well  as  an  idea  of  its  present 
status. 

The  potentialities  of  the  film  in  the  field  of  inter- 
national understanding,  which  can  be  a  problem  of  war 
as  well  as  of  ])eace,  were  discussed  in  the  opening  issue. 
Mention  was  made  of  ways  in  which  the  Axis  had  used 
the  film  as  a  weajKjn  of  war,  as  well  as  ways  in  which 
we  might  meet  this  challenge  and  u.se  the  film  for  our 
iiwn  purposes  of  war  and  peace. 

This  discussion  was  continued  the  following  month, 
with  more  attention  paid  to  specific  methods  and  types 
of  pictures  which  might  be  used ;  and  Dr.  Paul  Monroe 
contributed  a  brief  article  on  the  power  of  the  cinema 
in  world  education. 

But  could  we  get  from  these  theories  to  actual  prac- 
tice? In  the  next  issue  the  relationships  between  theory 
and  practice  were  discussed,  and  attention  was  called  to 
films  which  now  actually  were  carrying  out  some  of  the 
theories  propounded.  Walt  Disney's  Saliidos  Amigos 
was  discussed  at  length  and  consideration  given  to  the 
possibilities  of  the  animated  cartoon  in  the  realm  of 
international  understanding. 

Representing  the  jniblic  schools.  Frank  M.  Rice  of 


A  scene  from  Disney's  "Saludos  Amigos" 


Edited  by  DR.  JOHN  E.  DUGAN 

Haddon  Heights,  New  Jersey,  Schools. 

Omaha  contributed  an  article  on  a  project  in  this  field 
which  he  had  carried  out  at  Omaha  Central  High 
School.  This  issue  also  carried  a  report  of  RKO's 
This  Is  America  series,  which  was  made  to  boost 
morale  at  home  and  better  understanding  of  America 
abroad. 

The  field  was  broadening,  and  practice  was  crys- 
tallizing theory. 

In  April  Prof.  C.  L.  V.  Meeks  of  Yale  contributed 
his  fine  article  on  Yale's  ])ioneer  work  in  visual  edu- 
cation in  its  graduate  program  of  Foreign  Area  Studies. 
The  intense  practicality  of  this  work  is  indicated  by 
the  following  quotation  from  his  article:  "Visual 
education  was  especially  important  to  this  program. 
These  students  had  to  have  an  understanding  of  the 
area  they  were  studying  as  a  whole ;  furthermore,  they 
were  not  preparing  to  write  a  thesis  in  a  library,  they 
were  going  out  to  the  area  in  question  in  a  few  months. 
The  men  should  know  what  they  were  going  to  find ; 
they  should  be  made  as  familiar  as  possible  in  advance 
with  what  they  would  see  as  soon  as  they  walked  oflf 
the  plane." 

In  May  Dr.  Herbert  S.  Houston  presented  his 
"Educational  Film  Plan  for  the  United  Nations,"  the 
most  comprehensive  plan  yet  proposed  for  the  use  of 
the  educational  motion  picture  as  a  world-wide  instru- 
ment of  international  understanding.  Said  Dr.  Hous- 
ton :  "It  is  clearly  manifest  that  the  very  moment  has 
come  to  develop  a  I)road  educational  motion  picture 
plan  for  mass  education  throughout  the  United 
Nations." 

Surely  we  have  come  a  long  way  within  a  relatively 
short  time.    Mr.  Greene's  confidence  was  justified! 

Turning  from  the  educational  to  the  theatrical  film, 
Mr.  Will  H.  Hays,  President  of  the  Motion  Picture 
Producers  and  Distributors  of  America,  Inc.,  entitled 
his  recently  issued  twenty-first  annual  report  "The 
Motion  Picture  and  a  World-Wide  Audience."  Al- 
most two  pages  in  it  are  devoted  to  consideration  of 
"The  Outlook  for  Education"  and  "Future  of  the 
Screen  in  World-Wide  Understanding."  Some  per- 
tinent passages  from  this  report  are  quoted  below: 

"It  is  in  our  lifetime  that  men  have  first  discussed 
peace  in  world  terms.  It  is  also  in  our  lifetime  that 
an  art  has  achieved  world  dimensions  as  a  medium  of 
expression  and  as  a  source  of  entertainment  to  all 
men  everywhere. 

"These  two  facts  are  not  unconnected.  An  inter- 
national community  in  the  art  of  motion  pictures  al- 
ready exists.  In  it  men  of  every  race,  creed,  and 
nationality  have  found  a  common  denominator." 

"Over  barriers  of  suspicion,  unavvareness  and 
tradition,  the  motion  picture  offers  the  language  of 
pictures  which  is  the  common  language  of  man- 
kind." 

"Through    promoting    mutual    understanding    and 

(Concluded  on  page  217) 


Page  210 


The  Educational  Screen 


SCHOOL  MADE  MOTION  PICTURES 


Students  Make  Biology  Film 


By    HARDY    R.    FINCH 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 


The  making  of  a  school  motion  picture  is  an  educa- 
tional venture.  Evandcr's  Chicks,  produced  by  the 
Motion  Picture  Club  of  Evander  Childs  High  School, 
New  York,  was  very  successful  educationally,  accord- 
ing to  a  report  by  the  film's  director,  David  Schneider. 
Below  are  interesting  e.xcerpts  from  Mr.  Schneider's 
film-making  report. 

THE  filming  of  Evandcr's  Chicks  followed  a  most 
unorthodox  approach.  The  Biology  Research  Club, 
under  direction  of  Miss  Lucy  Orenstein,  was  engaged 
in  incubating  chick  eggs  as  a  term  project.  The  Mo- 
tion Picture  Club  was  invited  to  stand  by  for  an  occa- 
sional shot  or  two  whenever  chick  embryos  were  being 
unshelled.  Presently  our  interest,  which  at  first  was 
focused  on  the  appearance  of  the  embryos  themselves, 
turned  to  the  more  elaborate  techniques  involved  in 
the  entire  project.  Thus  it  developed  into  a  "give  and 
take."  Members  of  the  Motion  Picture  Club  learned 
about  embryology,  while  the  Research  Club  devotees 
learned  that  there  are  two  ways  of  manipulating  ma- 
terials, one  for  themselves,  and  one  for  the  camera. 
We  shot  the  first  hundred  feet  in  black  and  white. 


None  of  us  had  ever  used  Kodachrome  before.  Noticing 
the  success  with  our  first  reel  and  remembering  the 
vivid  colors  of  the  various  stages  of  embryonic  growth 
which  meet  the  naked  eye  we  were  sorry,  indeed,  that 
we  had  missed  so  many  colorful  opportunities.  Arm- 
ed with  four  or  five  rolls  of  Kodachrome  and  a 
renewed  enthusiasm  for  our  project  we  began. 

Again  and  again  the  faculty  adviser  and  such  mem- 
bers of  the  Motion  Picture  Club  as  were  free  during 
certain  periods  of  the  day  (not  excluding  occasional 
time  before  and  after  classes)  were  summoned  by  the 
enibryologists  to  be  ready  for  important  developments. 
In  this  manner  were  we  able  to  complete  the  shots 
portraying  the  various  stages  of  chick  development 
from  twenty-four  hours  till  twenty-one  days  after  in- 
cubation. 

Now  that  we  had  some  interesting  pictures,  it  was  left 
to  the  faculty  adviser  of  the  Motion  Picture  Club  to 
clothe  these  shots  with  some  kind  of  continuity  to  make 
the  story  palatable  for  the  other  students  of  biology. 
Following  is  a  brief  outline  of  the  subtitles  and  pic- 
tures that  make  up  the  three  hundred  feet  of  film. 
Title  Pictures 


1.  Setting  up  the  in- 
cubator. 

2.  Fertilized  and  un- 
fertilized eggs 
placed  in  incubator 
.same    day. 

,3.  -An  embryological 
scout  does  a  good 
turn  every  day. 

4.  After  24  hours  can 
you  tell  the  differ- 
ence between  the 
fertilized  and  un- 
fertilized eggs  ? 

5.  Three   days   old. 

6.  Six  days  old. 

7.  Enibryologists  at 
Evander  become 
crack    experts. 

8.  Making  a  window 
to  observe  develop- 
ing  embryos. 

9.  Life  in  an  egg 
shell. 

10.  Nine  days  old. 

1 1 .  Fifteen   days    old. 

12.  Embryos  perserved 
and  mounted. 

13.  Nineteen  days  old. 


A  film  in  production  at  Evanjier  High 


Girl  opens  door  of  incubator,  places 
dish  of  water  inside,  adjusts  and  re- 
cords temperature. 

Students  date  and  mark  eggs  fertil- 
ized and  unfertilized,  place  them  in 
incubator. 

Student  opens  incubator  and  rotates 
several  eggs  one  half  turn. 

Students  remove  eggs  from  incubator, 
open  both  kinds,  and  point  to  areas 
showing   differences   between   them. 


Egg  opened  after  third  day  of  incu- 
bation. 

Egg  opened  after  sixth  day  of  incu- 
bation. 

Several  students  open  eggs.  Other 
students  watch  process. 

Students  remove  part  of  shell,  and  in 
its  place  insert  cover  glass  and  seal  it. 

Egg  opened  after  eight  days  of  in- 
cubation, showing  contraction  of  heart 
and  blood  vessels. 

Corresponding    stage    of    development 
and  activity  in  embryo. 
Similar  method  as  above. 
Embryo  of  about  seventeen  days  placed 
in  Kleinert's  solution  and  mounted  in 
bottle. 

Chick  embryo  removed  from  shell, 
placed  in  dish,  yolk  pushed  aside.  Em- 
bryo shows  motion  of  legs,  wings  and 
beak. 

{Concluded  on  page  212) 


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Victor  Cameras  and  Projectors 
are  favorites  the  world  over, 
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combat  training  and  entertain- 
ment programs.  Their  profes- 
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makes  them  the  faithful  servant 
to  millions  in  War  or  Peace. 


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Disfribufors   Throuahoui   f/iP   Wnr/W 


Page  212 


The  Educational  Screen 


{Concluded  from  pane  210) 

14.  T  h  e     twenty-first       Chick's    beak    piercing    through    egg 
day.  shell,    the    rest  of   shell   carefully   re- 
moved. Door  of  incubator  opened.  An- 
other newly  hatched  chick  found  sit- 
ting next  to  broken  shell  in  corner. 

15.  Unshelled,  facing  a       Young   chicks    feeding    and    drinking, 
brave   new   world. 

16.  Instructing      em-       Faculty    adviser    of    Research    Club 
bryo   scientists.  reviews    some    technique    with    presi- 
dent of  club,  and  introduces  president 
to   prospective   members. 

Club  president  demonstrates  tech- 
niques of  incubation,  and  passes  around 
several  bottles  containing  preserved 
embryos.  Students  observe  contents 
of  bottles. 

Close-ups  of  egg,  bottles  containing 
preserved  specimens  from  third  to 
twenty-first  day.  Final  close-up  shows 
live  chick. 

This  film,  far  from  being  the  perfect  study  of  chick 
embryology  has  received  enthusiastic  response  among 
teachers  as  well  as  students. 


Fifth  Midwestern  Forum 
On  Visual  Teaching  Aids 

In  Co-operation  with  Zones  III  and  FV. 
Department  of  Visual  Instruction,  NEA 

July  23-24,  1943 

Room  159.  BeUield  Hall 
The  University  of  Chicago 

Meeting  in  Conjunction  with 
Twelfth  Annual  Conferknce  For  Administrative 
Officers  For  Public  And  Private  Schools 
July  19  to  July  23,  Inclusive 

PROGRAM 
Friday,  July  23 

Visitation  of  Exhibits — Old  Gymnasium 
Belfield  Hall  (2:30  P.  M.— 7:30  P.  M.) 

Evening    Session    (7:30) 

General  Theme:  "The  Use  of  Motion  Pictures  in 
Developing  an  Understanding  of  the  War" 

L.  C.  Larson,  Indiana  University,  Bloomington,  In- 
diana, presiding 

Showing  of  recent  motion-picture  releases  related  to 
the  general  theme 

Discussion  by :  Thomas  Hodge,  Film  Officer,  British 
Information  Services;  Wesley  Greene,  Director  of 
Distribution,  National  Film  Board  of  Canada ; 
Joseph  H.  Spear,  Executive  Director,  Pan  American 
Council,  Chicago,  Illinois ;  Edgar  Dale,  Educational 
Consultant,  Bureau  of  Motion  Pictures,  Office  of 
War  Information. 

General  Discussion 
Saturday,   July   24 

Morning  Session   (9:00) 

Theme :  "The  Contribution  of  Visual  Aids  to  the  War" 
Harry   E.    Erickson,   Ampro    Corporation,   Chicago, 
Illinois,  presiding 


Showing  of  films  and  discussion  of  the  use  of  motion- 
picture  films  in  training  our  armed  forces  for  combat 
■ — Major  Franklin  Adreon,  Jr.,  United  States 
Marine  Corps,  Officer  in  Charge,  Marine  Corps 
Photographic  Schools,  Quantico,  Virginia 

Demonstration  and  discussion  of  newer  contributions  of 
sound  motion  pictures,  slide  films,  and  miniature 
slides  to  education  and  industry,  by  representatives 
of  Erpi  Classroom  Films,  the  United  States  Office  of 
Education,  Society  for  Visual  Education,  and  Jam 
Handy. 

Visitation  of  Exhibits 

(12:00  M.— 1:30  P.M.) 

Exhibitors:  Erpi  Classroom  Films,  Inc.,  Society  for 
Visual  Education,  Bell  and  Howell  Company,  Castle 
Films,  Radiant  Manufacturing  Company,  Da-Lite 
Screen  Company,  Y.M.C.A.  Motion  Picture  Bureau, 
Keystone  View  Company,  Ideal  Pictures  Corporation, 
Father  Hubbard  Educational  Films,  Films  Incorpo- 
rated, Victor  Animatograph  Corporation,  Ampro  Cor- 
poration, Vocational  Guidance  Films,  DeVry  Corpora- 
tion, Walter  O.  Gutlohn,  Inc.,  Brandon  Films,  Inc. 

Afternoon  Session  (1:30) 

General  Theme :  "Contribution  of  Visual  Aids  to 
Industry  and  Education" 

Alvin  B.  Roberts,  Principal,  Haw  Creek  Township 
High  School,  Gilson,  Illinois,  presiding 

"Specialized  Applications  of  Visual  Aids  in  Industry" 
— William  F.  Kruse,  Manager,  Films  Division, 
Bell  and  Howell  Company,  Chicago 

"Economy  of  Time  and  Materials  Through  the  Use  of 
Sound  Films  in  Training  for  War  Production,"  dem- 
onstration and  discussion —  Abram  VanderMeer, 
Research  Assistant.  Laboratory  Schools,  University 
of  Chicago 

"Responsibilities  of  Executives  and  Administrators  for 
the  Wider  Use  of  Audio- Visual  Materials" — Floyde 
E.  Brooker,  Director,  Visual  Aids  for  War  Train- 
ing, Federal  Security  Agency,  United  States  Office 
of  Education 

Summary  statement — William  C.  Reavis,  Professor 
of  Education,  University  of  Chicago 

Executive  Committee 

William  C.  Reavis,  Department  of  Educatian,  Uni- 
versity of  Chicago,  General  Chainnan;  Harry  O. 
Gillet,  Principal,  University  Elementary  School, 
University  of  Chicago,  Treasurer;  Abram  Vander 
Meer,  Research  Assistant,  Laboratory  Schools,  Uni- 
versity of  Chicago,  Secretary;  Orville  T.  Bright, 
Superintendent  of  Schools,  Flossmoor ;  Harry  E. 
Erickson,  Ampro  Corporation,  Chicago;  William 
J.  Hamilton,  Superintendent  of  Schools,  Oak  Park ; 
William  F.  Kruse,  Manager,  Films  Division,  Bell 
and  Howell  Company,  Chicago;  J.  Stanley  Mc- 
Intosh,  Assistant  Cook  County  Superintendent  of 
Schools,  Chicago;  Ernest  C.  Waggoner,  Director 
Science  and  Visual  Education,  Elgin  Public  Schools, 
Elgin. 


June,  194} 


Page  213 


KEYSTONE  Seti'e^ 


in 


AERONAUTICS 


Unit 

I 

— Historical  Background 

Unit 

II 

— Types  of  Airplanes 

Unit 

III 

— Aerodynamics 

Unit 

IV 

— Aircraft  Materials  and 
Their  Uses 

Unit 

V 

— Aircraft  Structure 

Unit 

VI 

— Structural  Detail  of  the 
Airplane 

Unit  VII  — Airplane  Controls 

Unit  VIII — Airplane  Engines 

Unit  IX     — Propellers 

Unit  X       — Meteorology 

Unit  XI     — Navigation  and  Radio 

Unit  XII  — Aircraft  Instruments  and 
Accessories 


KEYSTOiXE  Quality  Means . 


(1)  Subjects    carefully     selected    as    to     value     in     teaching 
Aeronautics. 

(2)  Photographic  copy  skillfully  prepared. 

(3)  Manual    for    teacher,  >vliich    provides    brief    but    usable 
information. 


Prospectus  Sent  upon  Request 


KEYSTONE 

VIEW  COMPANY 


Meadville,  Penna. 


Page   214 


The  Educational  Screen 


^riE  J^iiEXaiuxE.  in  ^l/iiuaL  Lln^ixuation 


A    Monthly    Digest 


Conducted    by    ETTA     SCHNEIDER 


TRENDS 

New  Techniques  in  Mass  Education  —  Orson   Welles  — 

Adult  Education  Journal.  2:93  April,  1943 

A  radio  address,  delivered  at  the  American  Association  for 
Adult  Kducation  regional  conference,  March  6.  1943.  Here  are 
some  sentences  from  the  address : 

"Nowadays  education  itself  is  better  educated  .  .  .  The  radio 
is  realizing  its  potency  as  a  teacher — and  the  movies  are  so 
good  nothing  can  stop  them,  not  even  the  movie-makers,  who 
have  certainly  tried  ...  I  offer  you  a  sober,  terrifying  thought — 
all  educators,  whether  they  like  it  or  not  are  in  the  amusement 
business,  and  all  movie-makers  and  radio  broadcasters  .  .  .  are 
educators." 

PHONOGRAPH  RECORDS 

A  Comparison  of  Phonographic  Recordings  with  Printed 
Material  in  Terms  of  Knowledge  Gained  Through  Their 
Use  in  a  Teaching  Unit — I'hillip  J.  Rulon,  et  al — Harvard 
liducalional  Rcvic'u\  13:W-76;  163-175,  January  and  March, 
1943 

These  two  articles  describe  in  detail  two  of  four  investiga- 
tions on  the  effectiveness  of  phonograph  records  in  education. 

Phonograph  Records  as  an  Aid  to  Learning  in  Rural  Ele- 
mentary Schools:  A  Handbook  for  Teachers  and  Super- 
visors— Effie  G.  Batliurst — State  T^epartnient  of  Educa- 
tion, Albany,  N.  Y.  1943.  171p. 

The  study  described  in  this  bulletin  was  made  possible  under 
a  grant  from  the  Committee  on  Scientific  Aids  to  learning. 
Here,  briefly,  are  the  stages  of  the  experiment  that  are  de- 
scribed in  an  interesting  fashion  in  the  report : 

First,  the  medium  of  the  phonograph  record  was  studied  with 
a  view  to  using  it  for  enriching  the  curriculum  of  rural  schools 
in  New  York  State.  Such  questions  as  the  following  were 
studied  and  answered:  what  subjects  should  be  treated?  what 
content  should  be  included?  how  could  the  material  be  presented 
most  effectively,  through  dramatization,  lecture,  dialog  or 
round  table  discussion? 

After  having  arrived  at  certain  decisions.  Dr.  Batliurst  sought 
the  assistance  of  outstanding  persons  to  help  in  the  actual  pro- 
duction :  radio  script  writers,  authors  of  children's  books, 
teachers,  librarians  and  others.  Great  care  was  taken  to  main- 
tain a  high  production  quality  throughout,  in  the  choice  of 
mechanical  recording  etiuipment,  performers  and  the  like. 

The  result  of  this  phase  of  the  experiment  was  38  records, 
built  around  three  areas :  the  environment,  English  and  regional 
studies.  The  10  records  for  studying  a  nature  trail  were  a 
dramatization  of  the  experiences  of  one  class  of  rural  students 
and  their  teacher  in  building  and  caring  for  a  woods  adjoining 
the  school ;  then  there  are  six  records  to  illustrating  ways  of 
making  better  use  of  nature :  and  finally  2  records  on  "Do  You 
Know  Birds?" 

For  the  series  on  "Stories  and  Poems  We  Like,"  authors 
of  children's  stories  were  interviewed,  or  good  story-tellers 
were  called  upon  and  for  two  records,  a  class  of  fifth  grade 
pupils  of  Horace  Mann  Scliool  was  used  to  illustrate  choral 
speaking. 

The  dramatizations  in  the  series,  "How  Country  Cliildren 
Live"  attempted  to  convey  geographical  and  scientific  under- 
standings to  show  why  children  living  in  the  various  regions  of 
the  United  States  enjoyed  different  experiences. 

The  second  large  phase  of  the  experiment  involved  an  evalu- 
ation of  these  38  records  with  the  children  for  whom  they  had 
been  made,  namely,  the  rural  elementary  students  of  New  York 
State.  The  volume  describes  in  much  detail  some  of  the  ways 
in  which  children  and  teachers  used  the  records.  There  are 
verbatim  reports  of  lessons;  answers  to  specific  questions  by 


teachers,  and  descriptions  of  units  in  which  the  records  were 
used. 

This  study  provides  a  new,  vitalized  approach  to  the  phono- 
graph record  which  has  as  an  advantage  over  radio  programs 
the  fact  tliat  it  can  be  used  over  and  over  again,  and  the  added 
advantage  in  the  general  availability  of  phonograph  equipment 
in  schools. 

We  should  greatly  benefit  if  we  had  similar  studies  for  other 
media  of  instruction.  It  will  be  recalled  that  Dr.  Bathurst 
made  a  worthwhile  contribution  to  the  field  of  motion  picture 
evaluation  in  a  bulletin  for  the  U.  S.  Office  of  Education  on 
"Conservation  Films  for  Elementary  Schools" — Bulletin  1941, 
No.  4. 

RELIGIOUS  EDUCATION 

Let  Us   Mix   Palestine   and   Hollywood — Mary    C.   White, 

Upper    Montclair.    N.   J. — /"('/  Journal   oj   Religious  Educa- 
tion. March,  1943.     p.  10 

It  is  suggested  that  religious  educators  go  to  the  movies  more 
often  to  see  what  is  being  shown  and  to  know  what  young 
people  are  seeing;  that  they  make  a  study  by  questionnaire  of 
the  kinds  of  films  the  boys  and  girls  like  best,  when  they  go, 
with  whom,  and  so  on ;  plan  to  improve  the  taste  for  movies  by 
knowing  what  good  films  are  coming,  and  then  make  this  in- 
formation available  to  the  teachers. 

One  teacher  was  discussing  with  an  eighth  grade  class  what 
the  Old  Testament  offers  life  today.  'Who  saw  Dumbo  yester- 
day?' she  asked.  This  brought  enthusiastic  replies  from  the 
group.  The  teacher  pointed  out  how  Dumbo  had  made  the  best 
of  his  long  ears,  much  as  Moses  did  of  his  speech  defect.  She 
then  referred  them  to  passages  in  the  Old  Testament  that  de- 
scribed the  situation. 

.Among  the  films  that  would  lend  themselves  to  discussion 
among  religious  classes  are,  "Here  Comes  Mr.  Jordan,"  "Citizen 
Kane,"  ".Ml  That  Money  Could  Buy"  and  so  on. 

FILM  SHOWINGS 

The    Cracked    Voice    of    Propaganda — Documentary    News 

Ecttcr.  March,   1943.   Published  by  the  Film  Centre  Ltd.,  34 

Soho  Square,  London  Wl. 

During  the  last  two  years  the  British  Ministry  of  Information 
has  built  up  what  is  perhaps  the  largest  and  best  organized  non- 
theatrical  distribution  scheme  in  the  world.  During  1942  the 
films  reached  an  audience  of  12  million,  and  in  1943  an  esti- 
mated 18  million  will  see  them.  Over  half  of  the  audience  in 
1942  went  to  shows  given  by  mobile  projection  units:  137  units 
give  1,300  shows  a  week. 

The  article  makes  a  plea  for  better  showmanship  in  presenting 
these  important  war  films,  especially  with  respect  to  the  acous- 
tics of  the  meeting  hall.  A  survey  by  sound  engineers  is  strong- 
ly recommended  to  set  standards  for  sound  recording  and  pro- 
jection. 

FLAT   PICTURES 

The    Picture    Collection — revised    Sth    edition    The    H.    W. 

Wilson  Company.  950  University  Ave.,  New  York.  1943. 

$1.25. 

This  is  the  first  edition  to  be  issued  since  1930.  During  that 
time  many  changes  have  taken  place  in  the  administration  and 
scope  of  the  Newark,  N.  J.  Public  Library's  Picture  Collection 
of  which  this  is  a  description,  and  these  changes  are  mirrored 
in  this  new  edition. 

Materials  and  equipment,  sources  for  pictures,  methods  of 
processing  and  storage,  classifying  and  charging  are  all  de- 
scribed in  turn.     There  is  a  valuable  Directory  of  Publishers 

(Concluded  on  page  216) 


June,    194} 


Page  215 


Coo' 


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It  presents  new  teaching  techniques 


This  illustrated  36-page  manual  was  pub- 
lished by  Spencer  in  the  interests  of  better  in- 
struction through  visual  teaching.  It  contains  a 
wealth  of  specific  suggestions  for  the  use  of  the 
opaque  projector  and  includes  some  teaching 
techniques  printed  here  for  the  first  time. 

The  majority  of  summer  schools  conducting 


courses  in  visual  education  utilize  this  booklet 
as  a  text. 

More  than  20,000  teachers  interested  in  this 
subject  have  requested  copies  for  their  per- 
sonal use. 

Write  Dept.  SI 2  today  for  your  copy. 


Spencer  Lens  Company 

BUFFALO,  NEW   YORK 

Scientific  Instrument  Division  oj 
AMERICAN     OPTICAL     COMPANY 


^ 


SalcsOlfiec>:NcwYork,Ch!cago.SanFranciico,Waihinglon,Bailon,LoiAngel<i.Dallat,Columbus,S(.Lou!i.PhiladelphIa,A(lanla 


Page  216 


The  Educational  Screen 


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come  to  St.  Louis  this  summer  we  hope  you'll  visit 
us  at  our  NEW,  ENLARGED  OFFICES. 

if  you  don't,  we'd  like  you  to  have  a  copy  of  our 
NEW  CATALOG  listing  the  2.000  J6  mm  Sound 
Films  we  now  carry.    Just  drop  us  a  card. 

SWANK  MOTION  PICTURES 


p.    Ray   Swank 
614  No.  Skinker  Blvd. 


L.    P.    Swank 
St.  Louis,  Mo. 


of  pictures,  to  which  there  is  a  subject  index  at  the  end  of  the 
.  book.  Various  auxiliary  collections  are  described  in  detail, 
such  as  picture  sets,  post  cards,  lantern  slides,  prints,  oversize 
and  framed  pictures,  and  posters.  The  service  the  Collection 
renders  to  schools  and  other  groups  in  the  community,  typical 
requests  and  how  they  are  met,  are  other  features  that  teachers 
and  librarians  will  find  helpful  in  the  solution  of  their  own 
problems. 

The  second  half  of  the  book  contains  a  list  of  the  subject 
headings  used  by  the  Newark  Library  in  classifying  their  picture 
collection.  These  are  printed  on  the  left-hand  side  of  the  page, 
leaving  the  right-hand  column  free  for  the  user's  own  changes 
and  additions. 

RADIO 
Radio   Appreciation    in    Secondary    Schools — C.    I.    Glicks- 

berg,    Southside   High    School,    Newark,    N.   J.- — Curriculum 

Journal  14 :73-6.  February,  1943. 

This  article  gives  reasons  why  a  course  in  radio  appreciation 
should  be  given  in  high  school.  Teachers  of  such  a  course  are 
advised  as  follows : 

1.  Do   not   impose   standards.    They    must   be    learned   from 
experience. 

2.  Let  the  students  decide  good  and  bad. 

3.  Develop  a  tolerant,  hospitable  attitude  permitting  the  in- 
clusion of  divergent  tastes  and  interests. 

4.  Instill  a  feeling  of  confidence,  no  snobbish  appeal. 

5.  Conversion  will  be  the  result  of  a  long  process  of  growth 
in  sensitiveness  and  insight. 

6.  The  object  is  to  develop  understanding  of  what  one  likes, 
self-understanding,   to   build   up   self-evolved  and   self-im- 

,    posed  critical  standards. 

PERIODICALS 

Sight  and  Sound,  Spring,  1943 — The  British  Film  Institute, 

4  Great  Russell  St.,  London  WCl. 

In  "Beyond  the  Box  Office"  there  is  a  report  of  the  non- 
theatrical  film  activities  of  the  Ministry  of  Information  between 
Sept.  1941  and  Aug.  1942.  There  was  a  weekly  audience  of 
350,000  and  an  annual  audience  of  12  million. 

There  are  three  media  for  showing  films :  the  mobile  film 
units,  of  which  there  are  now  130.  These  give  1200  film 
shows  a  week.  Six  of  them  are  35mm.  units,  and  soma  of 
them  have  gasoline  generators  to  help  provide  electricity  where 
there  is  none.  Then  there  are  film  showings  in  theaters,  out 
of  theater  hours,  fifty  a  week  having  been  given  last  year. 
These  include  training  films  for  the  Civil  Defense  and  Na- 
tional Fire  Service  personnel.  And  finally,  there  are  the  films 
circulated  through  the  Central  Film  Library  with  its  sub- 
libraries  in  Scotland  and  else\^here.  There  were  48,000  book- 
ings to  3,500  separate  organizations  with  their  own  projectors. 
These  reached  an  audience  of  4'/l  millions.  The  Library  is 
now  booking  1,500  Ministry  of  Information   films  a  week. 

A  staff  of  workers  in  the  Ministry  of  Information's  regional 
offices  directs  the  traveling  shows  and  the  out-of-hour  the- 
atrical shows.  About  once  a  month  there  are  factory  show- 
ings ;    then    village    groups    are    given    showings    about    every 

I 


^^^Bl 

H 

■A  P-9""' °  ,„,,„  ..  si>i 

SCHWABACHER-FREY 

735   Market  St   •   San   Francisco 

1 

■■^H 

^1 

two  months.  Training  films  for  civilians  are  not  shown  regu- 
larly, but  when  needed. 

Special  audiences  have  special  films,  produced  for  them  by 
agencies  of  the  government.  There  are  special  films  for 
farmers  ;  for  housewives ;  for  health  workers ;  for  civil  defense 
leaders  and  workers.  Since  September,  1940,  the  Ministry 
has  produced   332  films. 

Radio-Electronics  in  Education — Department  of  Informa- 
tion, Radio  Corporation  of  America,  30  Rockefeller  Plaza, 
New  York.  48p. 

Articles  in  this  magazine  describe  the  influence  of  radio  as  a 
science  and  as  a  system  of  communication,  with  special  reference 
to  its  educational  uses.  "Radio-Electronics"  is  the  term  used, 
because  new  developments  in  radio  and  electronics,  including 
television  and  the  electron  microscope,  were  included. 

Dr.  James  Rowland  Angell  first  sums  up  the  educational 
programs  of  the  National  Broadcasting  System.  Paul  Thornton 
in  his  article,  "Recordings  Find  Wide  Use  in  Teaching  Field" 
describes  the  music  appreciation  records,  literature  records  as 
"Abe  Lincoln  in  Illinois,"  Shakespearean  readings,  poetry  read- 
ings by  Cornelia  Otis  Skinner,  and  so  on.  There  is  an  article 
on  the  use  of  motion  pictures,  in  group  instruction,  written  by 
Ellsworth  C.  Dent;  and  Sterling  Fisher's  description  of  the 
Inter-American  University  of  the  Air. 

Perhaps  the  two  articles  of  most  outstanding  interest  are 
those  by  Noran  E.  Kersta  and  M.  C.  Banca.  The  first  makes 
clear  not  only  the  fundamentals  of  television  but  its  possibilities 
in  educational  procedure  as  the  broadcasting  range  is  increased. 
The  second  article  serves  to  clarify  the  working  principles  and 
growing  scope  of  the  new  and  too  little  understood  invention, 
the  electron  microscope. 

SOURCES  OF  INFORMATION 
Free  and  Inexpensive  Learning  Materials:  1942  Supplement 
— Lucille  Dcnham — Curriculum  Laboratory,  George  Pea- 
body    College   for   Teachers,    Nashville,   Tenn.    Bulletin    No. 
84.  November,  1942.  25c. 

The    material    in    this    bulletin    has    been    organized    around 
topics,  alphabetically  arranged.     Pamphlets,  posters  and  similar 
teaching  aids  were  carefully  examined  by  at  least  three  persons 
and  compiled  with  the  aid  of  fifty  librarians  from  the  Library 
School.     Criteria  for  selection  are  given  in  the  Foreword.  The 
bulletin  should  be  of  great  value  to  teachers. 
Illustrative  Materials  for  Conservation  Education — W.   H. 
Hartley,    State     Teachers    College,      Towson,      Maryland — 
Journal  of  Geography.  42:153-7  April,  1943 
An  up-to-date  evaluated  listing  of  films  is  preceded  by  teach- 
ing suggestions  based  on  practical  classroom  experience. 
Teaching    Materials    for    Industrial    Education — Chris   H. 
Groneman,  Texas  A.  &  M.  College— /«</»i/nVi/  Arts  and  Vo- 
cational Education,  32:  15-18;  55-7;  58A-66A  ;  201-2;  244-7, 
January-June,  1943 

This  excellent  source  of  information,  published  serially,  in- 
cludes materials  for  the  teaching  of  the  following  areas :  auto 
mechanics,  crafts,  drawing,  electrical  trades,  industrial  trades, 
metalwork,  woodworking.  In  the  January,  February  and  March 
listings,  pamphlets  and  exhibits  are  given ;  in  the  May  and 
June  issues,  films  are  enumerated. 


June,  1943 

Pre-Induction  Training  with 
Audio-Visual  Aids 

(Concluded  from  page  203) 

sities,  from  which  a  hmited  number  of  these  fihns  can 

be  obtained  if  desired. 

The  motion  picture  is  used  extensively  in  pre-induc- 
tion  training,  and  rightly  so.  A  pre-flight  student  may 
get  something  of  the  feel  of  an  airplane  ride  by  simply 
taking  a  motion  picture  airplane  trip.  A  future  marine 
may  learn  from  a  travelogue  the  exact  nature  of  the 
terrain  he  will  perhaps  later  invade.  The  liaison  officer- 
to-be  finds  a  wealth  of  information  relative  to  the  man- 
ners and  customs  of  peoples  he  will  contact  from  such 
dociunentary  films  as  North  Sea,  a  story  of  the  lives 
of  Scottish  fishermen,  Five  Faces,  introducing  the  five 
races  of  Malaya,  and  Man  of  Aran,  showing  the  difficult 
existence  of  the  folk  of  Aranmore. 

For  the  more  technical  courses,  films  are  obtainable 
for  explaining  the  uses  and  applications  of  precision 
measuring  instruments,  the  engine  lathe,  the  milling 
machines,  shapers  and  drills.  Forty-eight  titles  under 
these  headings  were  developed  by  the  Office  of  Educa- 
tion of  the  Federal  Security  Agency.  The  Army  Air 
Force  and  Navy  Department  offer  thirty-eight  titles 
under  Engines  and  Structures.  Weather  and  Naviga- 
tion, Radio,  and  Aerodynamics.  Many  subjects  are 
also  available  from  commercial  film  libraries  throughout 
the  country.  Many  of  these  are  widely  used  in  several 
schools,  as  definite  lessons  in  the  training  courses. 
In  some  instances  they  are  the  only  lesson  given  on  the 
subject  but  they  apparently  prove  effective. 

At  present,  pre-induction  training  has  not  reached 
the  peak  of  its  importance.  Just  so  long  as  the  enemy 
shows  a  breath  of  life,  just  so  long  as  the  military  forces 
of  the  nation  must  expand  in  order  to  become  strong 
enough  to  snuff  out  that  breath  of  life,  pre-induction 
training  must  go  on  growing  in  scope  with  time.  Mili- 
tary demand  for  trained  youth  will  still  exist,  new 
theories  of  wartime  may  develop,  and  new  up-to-date 
teaching  aids  will  be  made  to  answer  the  needs  of  the 
in.structors. 

The  Film  and  International  Understanding 

{Concluded  from  page  209) 

sympathy,  will  the  motion  picture  contribute  to  the 

peace  that  lies  ahead." 

"At  the  end  of  the  war  the  armed  forces  will  re- 
turn to  the  educational  institutions  a  large  number 
of  teachers  who  will  have  become  accustomed  to 
teaching  with  films We  are  prepared  to  co- 
operate with  the  nation's  educators  in  the  making 
and  realization  of  plans,  looking  toward  a  future 
in  which  the  facilities  of  the  industry  will  be  more 
fully  used." 

Surely  the  field  of  the  film  in  international  under- 
standing is  broad,  and  the  time  is  ripe.  Seed  has 
been  planted  and  is  being  planted,  and  it  is  taking 
root  and  growing  rapidly.  The  harvest  will  be  not 
only  for  visual  education,  but  to  an  even  greater 
extent  for  the  peace  and  security  of  the  world  and 
its  citizens  for  generations  to  come. 


Page  217 


for  all 

VISUAL  EDUCATION 

NEEDS... 

ll 


PROJECTION  SCREENS 

of  Non-crifi'ea/  Moter/a/s 

■^  We  are  proud,  at  Radiant,  of  our  ever- 
increasing  share  in  ttlling  the  needs  oi  our 
armed  forces.  But  the  cause  of  education,  too. 
must  still  be  served.  So  it  is  with  great  pleas- 
ure that  we  now  announce  the  development 
of  a  full  line  of  projection  screens  of  Radionf 
qualHy  —  made  of  non-cWf leaf  mater/o/s. 
Portable,  table,  and  wall  screens  in  all  sizes 
...  all  with  the  famous  Radiant  "Hy-FIect" 
glass-beaded  screen  surface  for  perfect,  clean- 
cut,  brilliant  reproduction — lifetime  whiteness. 
Ask  your  dealer  ...  or  write  for  the  big  new, 
illustrated  brochure,  "In  Step  with  the  Times" 
— free  on  request. 


RADIANT  MANUFACTURING  CORPORATION 


Page  218 


The  Educational  Screen 


Department  of  Visual  Instruction  Notes 
New  Zone  Officers 

Some  of  the  D.V.I,  zones  have  held  elections  recently, 
which  resulted  in  a  few  newcomers  to  office. 

Zone  I  continues  with  Mr.  Wheeler  as  President,  but 
Miss  Dorothy  A.  Allard  of  the  Reading,  Massachusetts, 
Public  Schools  is  the  new  Secretary-Treasurer. 

New  Officers  of  Zone  III  are:  President — Mr.  H. 
B.  Allen,  West  Virginia  University;  Morgantown  ;  Sec- 
retary-Treasurer— Mr.  L.  M.  Lash,  Henry  Ford 
School,  Dearborn,  Michigan. 

Donald  W.  McCavick,  University  of  Texas,  Austin, 
is  the  new  Secretary-Treasurer  for  Zone  IX. 

D.V.I.  Members  Serving  the  Government 

Lt.  L.  W.  Cochran,  formerly  president  of  Zone  IV, 
writes  that  he  is  now  attached  to  the  Thirteenth  Naval 
District,  Seattle,  Washington,  as  Audio-Visual  Train- 
ing Officer  for  the  forces  afloat. 

Lt.  Donald  K.  Lewis,  who  had  to  resign  as  Secretary- 
Treasurer  of  Zone  V  when  called  to  service  in  the  U.  S. 
Naval  Reserve  last  December,  is  supervising  the  use 
of  audio-visual  aids  in  the  naval  training  schools  of 
Minnesota,  North  Dakota,  Iowa,  and  Wisconsin. 

That  trio  who  last  reported  from  the  AAF  School 
of  Applied  Tactics,  Orlando,  Florida — namely,  Lt. 
Godfrey  M.  Elliott,  Lt.  Don  White,  and  Captain  H. 
A.  Gray — have  been  transferred  to  the  Training  Aids 
Division,  AAF,  1  Park  Avenue,  New  York  City. 

Mr.  C.  R.  Reagan,  who  has  been  serving  as  Senior 
Educational  Film  Adviser  for  the  Bureau  of  Motion 
Pictures,  Office  of  War  Information,  is  carrying  on 
the  work  of  stimulating  maximum  effective  use  of  war 
films  throughout  the  Southeast,  Southwest  and  Pacific 
Coast.  His  headquarters  are  located  at  1003  Mercantile 
Bank  Bldg.,  Dallas,  Texas. 


Summer  Courses  in  Visual  Instruction 

{Supplementing  April  and  May  lists) 

California 

University  of  Southern  Calif.,  Los  Angeles        June  28-July  30 
Introduction  to  Audio- Visual  Education ;  Educational 
Use  and  Appreciation  of  Films  (2  each)  Clara  Pike 

Georgia 

Georgia  State  Woman's  College,  Valdosta  June  7- July  15 

Visual  Aids  in  Education  (5  qr.)  E.  W.  Phelan 

Indiana 

Ball  State   Teachers  College,   Munice   June  8-July  9; 

July   P-Au?.    13 
Laboratory  Course  in  Audio-Visual  Education      Evelyn  Hoke 

Oklahoma 

The  University  of  Oklahoma,  Norman  May  31-July  27 

Visual  Aids  in  Education  (2)  Thurman  White 
Pennsylvania 

Thiel  College,  Greenville  June  7-July  23 

Visual  Education  (2)  N.  G.  Gebert 
South  Carolina 

University  of  South  Carolina,  Columbia  June  8-25 

Audio- Visual  Education  Workshop  (3)  W.  H.  Ward 
Texas 
Texas  College  of  Arts  and  Industries,  Kingsville  July  12-Aug.  21 

Visual  and  Auditory  Aids  in  Education  (3)  H.  W.  Andersen 
Wisconsin 

Marquette  University,  Milwaukee  June  17-July  30 

Problems  in  Visual  Education  (2)  G.  E.  Vander  Beke 


FILM  REVIEWS 
"Use  and  Core  of  the  Filmo  Sound  Projector" 

Here  is  a  very  new  picture.  The  first  finished  print  happened 
to  be  ready  the  day  before  our  June  issue  deadline.  We  chanced 
to  be  at  the  Bell  and  Howell  Laboratories  that  day  and  chanced 
upon  the  first  showing.    This  review  is  at  least  timely. 

This  is  a  true  example  of  the  single-purpose  film.  It  aims  at 
one  objective,  to  show  and  tell  how  to  use  and  care  for  one 
particular  projector.  It  does  not  sprawl  its  appeal,  seeks  no 
"general  interest,"  attempts  no  "story"  punch,  and  excludes  all 
distractions,  both  visual  and  aural.  The  "sound"  matches  the 
picture  accurately,  appropriately,  valuably,  with  vocal  explana- 
tions synchronized  exactly  with  what  the  eye  is  seeing.  It  is 
an  instructional  film  built  expressly  to  teach  one  skill  to  the  ones 
who  need  it,  and  it  succeeds  splendidly. 

The  first  part  of  the  film  demonstrates  every  detail  of  prep- 
aration for  projection,  from  removal  of  film  from  can  through 
cable  connections  to  light  source,  threading,  focussing,  checking, 
to  final  switch — on  of  light,  motor  and  sound,  plus  final  rewind 
procedure.  The  second  part — perhaps  even  more  important  for 
amateur  projectionists — is  devoted  to  "trouble,"  its  prevention 
as  well  as  cure.  All  elements  in  proper  care  of  mechanism 
are  clearly  shown,  cleaning,  necessary  take-down,  care  of  lenses, 
location  and  handling  of  all  parts,  etc.  And  finally  "trouble- 
shooting," perhaps  the  high  spot  in  learning  interest.  Replace- 
ment and  adjustment  of  light  bulbs  is  simple,  but  the  hunt  for 
"sound"  trouble  is  almost  exciting.  The  various  potential 
causes  are  checked,  one  by  one,  and  finally  the  methodical  testing 
of  the  exciter  lamp  and  amplifying  tubes  reveals  the  culprit. 
If  the  would-be  projectionist  cannot  learn  his  fundamentals 
from  one  or  more  careful  viewings  of  this  film  his  ambition 
might  better  be  directed  into  other  channels. 

The  film  was  made  primarily  for  training  new  projectionists 
in  Army  and  Navy  centers  where  Bell  and  Howell  Projectors 
are  widely  used.  It  is  also  hoped  to  make  the  film  available  for 
Summer  Courses  in  Visual  Instruction  at  educational  centers 
this  summer.  (2  reels.  16mm.  sound).  For  full  information  ad- 
dress Bell  and  Howell,  1801  Larchmount  Ave.,  Chicago.   N.L.G. 

Matt  Mann  and  His  Swimming  Techniques 

(Reviewed  by  Indiana   Teachers  Cointnittee) 

(Coronet  Productions,  Glenview,  Illinois^  17  minutes, 
16mm.  sound.  Sale  price  black  and  white  $67.50  net,  koda- 
chrome  $110.00  net.     Apply  to  producer  for  rental  sources. 

With  groups  of  boys  varying  from  six  to  ten  in  number, 
Matt  Mann  explains  and  demonstrates  in  this  film  the  tech- 
niques and  devices  which  he  uses  to  teach  boys  the  crawl 
stroke,  the  back  crawl  stroke,  the  breast  stroke,  and  the  flying 
fish  breast  stroke.  He  and  his  assistant  first  hold  the  boys 
in  the  water  and  allow  them  to  practice  swimming.  The  boys 
stand  up  and  use  their  arms  to  practice  timing  and  breathing. 
Then  without  tubes  the  boys  practice  swimming.  Next  shown 
is  the  primary  diving  drill  in  which  the  boys  bend  down  on 
their  knees  on  the  edge  of  the  pool  and  the  coach  lets  them 
go  and  the  assistant  picks  them  up.  The  boys  next  stand, 
bend,  and  dive  alone. 

Having  explained  that  it  is  desirable  to  give  land  drills  in' 
class  instruction  in  swimming,  the  coach  exercises  the  class 
in  various  drills  which  give  the  student  coordination  in 
breathing  and  use  of  arms  and  legs.  The  leg  kick  is  first 
practiced  in  a  land  drill  and  then  in  the  water  as  the  boys 
hold  on  to  a  light  board.  To  demonstrate  good  arm  action 
a  swimmer  follows  a  rope  tightly  stretched  across  the  pool 
and  with  every  stroke  his  hands  meet  along  the  line  of  the 
rope.  Turning,  which  plays  an  important  part  in  racing,  is 
explained  and  demonstrated.  Each  of  the  various  strokes  is 
practiced  on  land  and  then  in  the  water.  Slow-motion  photog- 
raphy is  used  to  clarify  the  procedures  and  techniques  peculiar 
to  each  stroke. 

Committee  Appraisal:  The  first  section  of  the  film  should 
be  of  interest  to  both  teachers  and  students  as  it  presents  de- 
vices that  will  help  the  student  gain  confidence  in  the  water 
and  master  the  basic  techniqjues  of  swimming.  Later  sequences 
in  the  film  show  form  in  swimming  and  turning  for  advanced 
competitive  racing.  The  usefulness  of  the  film  could  have  been 
greatly  enbanced  had  it  been  designed  for  either  the  ad- 
vanced or  beginning  student  and  had  it  been  addressed  to 
either  instructor  or  student.  .  L.C.L. 


June,   1943 


Page  219 


Kit  No.V-OSS 

HOLLAND  and  th*  WEST  INDIES 

Kit  No.  V-0A5,  complvt*,  centiits  of ; 
(•)  3  Pull-color  charts,  two  on  Holland, 

on*  on  Netherlands  West  Indies, 
(b)  3  film  Strips,  two  on  Holland  and 

one  on  the  West  Indies, 
(c^  Set   o(   24    Photographs,    IS    on 

Holland  and  6  on  West  Indies. 
(6)  Teacher's  Guides  on  both  areas. 

Price  of  Kit  No.V-OSS,  complete  $9 

FOLEY  &  EDMUNDS,  INC. 

VISUAL  TEACHING  AIDS 

4S0  Loiinglon  Ay«.  N<»  Yorii  Citr 


Th*  materials  on  this  subject  ar«  divided  into  two  units : 

(a)  The  Netherlands  East  Indies  (Kit  No.  V-075) 

(b)  Holland  and  the  West  Indies  (Kit  No.V-085) 

KIT    PRICES 
Kits  Complete  (Nos.  V-075  and  V-085)  ....  $16.50 


Timoly,  now,  up-to-tho-minuto  mttorial  on  this 
ftr«togic  aroa.  Thoto  visual  lidt  aro  a  MUST 
for  any  diicuition  of  curront  ovontt  and  any 
undarstanding  of  tha  conflict  in  tht  Pacific. 
Thay  givo  a  f«al  undarstanding  of  tha  charactor 
of  tho  land,  tho  poopla  and  tha  products  of  tho 
wealthy  and  abundant  Indios. 

Kit  No.  V-07S  comploto  coosisti  of : 

(a)  3  Pull-color  Charts 

(b)  2  Pllm  Strips 

(c)  Set  of  24  Photographs 

(d)  Adhesive  Symbols   Set 

(e)  Base  Map 

(f)  Teacher's  Guide 

Price  of  Kit  No.  V-075,  Complete  $9 


A    COMPREHENSIVE    UNIT 


Motion  Pictures — 
Not  for  Theatres 

(Continued  from  page  208) 

Matson,  the  advertising  manager  of 
the  concern  at  that  time,  authorized 
the  editing  of  their  largest  existing 
picture  to  a  length  suitable  for  our 
purposes,  and  it  was  presented  by  us 
under  the  title,  "How  They  Put  the 
Hole  in  Macaroni."  He  stood  by  us, 
a  loyal,  enthusiastic  friend,  until  the 
very  last  day,  satisfied  that  he  had 
had  a  rich  return,  and  begging  us  not 
to   forget  him  when   we  began   again. 

The  publicity  man  of  Oneida  Com- 
munity, Ltd.,  on  the  other  hand,  pro- 
fessed great  interest  until  we  had 
actually  produced  for  him  two  types 
of  production  exploiting  "Community 
Plate."  One  was  in  story  form,  called 
"A  Chest  of  Silver,"  and  the  other,  of 
"special  article"  order,  was  named 
"Setting  a  Formal  Luncheon  Table 
for  Six."  When  misfortune  descended 
upon  us,  he  denied  any  commitments, 
but  assured  us  with  an  odd  generosity 
that  he  had  no  objection  to  our  con- 
tinuing to  show  "his"  films  for  our 
demonstration    purposes. 

After  all,  he  was  serving  a  purpose 


in  teaching  us  needed  lessons.  And 
it  really  wasn't  so  tragic,  because  every 
time  a  fish  got  away,  Wythe  promptly 
mended  the  net  and  no  two  ever  es- 
caped through   the   same  hole. 

Such  actual  production  as  we  under- 
took, involving  actors  and  studios,  was 
referred  to  the  dependable  attention  of 
Carlyle  Ellis.  My  own  attention  was 
needed  more  just  then  in  assembling 
programs  and  organizing  a  script  de- 
partment. The  advertising  men,  as 
usual,  were  insisting  upon  cooperation 
in  the  form  of  scenarios  written  es- 
pecially to  fit  the  needs  of  prospective 
accounts.  It  is  difficult,  to  be  sure,  to 
say  how  far  such  cooperation  ought 
to  go,  because  the  scenario  writer's 
creative  imagination  and  physical 
strength  should  not  be  depleted  in 
mere  sales  promotion.  In  my  opinion 
scenarios  should  not  be  written  with- 
out specific  order  and  nominal  charges 
which  may  subsequently  be  deducted 
from  the  sum  named  in  the  production 
contract.  The  customer  is  then  a  little 
less  oflhand  in  asking  for  such  extra- 
ordinary service,  and  the  salesman 
times  himself  better  in  offering  it. 
Also,  both  acquire  a  more  wholesome 
respect  for  what  is  an  important  link 
in  the  entire  production  plan. 


I  think  that  it  must  have  been  St. 
Peter  who  made  the  heaviest  drain 
upon  us  for  scenarios  which  were 
never  called  into  production.  On  one 
occasion  he  came  in,  filled  with  en- 
thusiasm for  the  opportunities  which 
he  knew  positively  might  be  found  at 
a  convention  of  insurance  men  in 
Chicago.  Wythe  decided  to  pay  his 
fare  and  expenses  there  and  back  to 
New  York,  and  I  was  commissioned 
to  prepare  for  him  a  series  of  scenarios 
presenting  the  respective  merits  of 
about  half  a  dozen  forms  of  life  in- 
surance. Duly  supplied,  thus,  with 
funds  and  ammunition,  St.  Peter  went 
to  Chicago.  Upon  his  return  he  brought 
the  usual  glowing  reports  but  hopes 
deferred.  Misfortune  broke  upon  us 
a  little  later.  St.  Peter  was  sorry  then, 
but  he  had  his  family  to  support  and 
could  not  continue  with  us  on  a  specu- 
lative basis.  Without  more  ado  he 
went  away.  A  few  years  later  I  met 
him  at  luncheon  one  day,  and,  in  a 
spirit  of  good  fellowship,  he  confided 
that  the  trip  to  Chicago  and  my  series 
of  scenarios  had  brought  him  an  ex- 
cellent job  with  one  of  the  largest  life 
insurance  companies  in  .America. 

(To  be  Cenflnnerf) 


Page  220 


The  Educational  Screen 


BRING  WORLD  BATTLEFIELDS  to 
LIFE   in    YOUR    CLASSROOMS  .  . 


JV. 


With  all  the  moving  drama  of  **on  the 
spot"  reality.  Father  Hubbard's  "World 
War  W  Sound  Films  add  lively  fascination 
to  classroom  studies  of  far-off  places  and 
peoples  in  the  news  today.  Authentic,  en- 
tertaining, stimulating.  Over  170  colorful 
subjects,  recorded  in  16  mm  Sound,  10,  12. 
30  and  45-minute  showings.  Low  Rental 
Rates. 


ir  Write  for  Descriptive  CaX- 
atog  and  Rental  Rates. 
.   .    also   Free  Government 
War  Information  Films. 

FATHER  HUBBARD  EDUCATIONAL  FILMS 

DepL  E.,   188  W.   Randolph  Si.,  Chicago,   III.,  or  SanU  Clara,  Calif. 


SLIDES     General  Science 11  rolls 

Qft  wnwn      Principles  of  Physics 7  rolls 

***  mm.    Principles  of  Chemistry 8  rolls 

FILM    Fundamentals  of  Biology 8  rolls 

Write  for  Folder  and  Free  Sample  Strip 

VISUAL     SCIENCES,  f£tz  Suffern,  Nsw  York 


^^^TALK  trwn  y.Mr  scr..n  ~ 
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MAKE  YOUR  OWN 

TYPEWRITER    SLIDES 

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USE       RADIO       MATS 

on    sale    by    Theatre    Supply    Dealers 
Write  for  Free  Sample 

RADIO-MAT  SLIDE  CO..  Inc. 

222  Oakridce  Blvd.,  Daytoiu  Beach,  Fla. 


SELECTED 
16  MM  Sound   Programs.     Lew 

Send  for  VICTORY  BULLETIN 

We  also  sell   and   exchange  8   mm   and    16   mm    Comedies,   N 
Sports   Films.     Ask  for  Catalog. 

BETTER      FILMS 

742A    NEW    LOTS    AVE..    BROOKLYN,    NEW 

Rentals 

ews.    Religious  and 
YORK 

WAR  AND  EDUCATION 

In  the  midst  of  war  this  is  an  attempt  to  appraise 
education  as  it  has  been,  is,  and  might  be — to  explain 
how  the  abstractions  "war"  and  "education,"  so  much 
in  people's  minds,  cover  a  multitude  of  sins. 

Evidence  is  presented  that  our  education  leaves  us 
without  understanding  and  without  emotional  control. 
Without  our  present  systems  of  education  would  it  be 
possible  to  have  our  present  systems  of  wars? 

"Extremely  interestinjc.  I  have  read  it  with 
much  enlightenment  and  appreciation,"  James 
Afursell,  Columbia." 

"A  highly  valuable  compendium  of  firsthand 
information,'*  John  Haynes  Holmes,  Community 
Church. 

"Promises  to  be  your  best  work,"  George 
Kneller,   Yale. 

412  pp..  black  vellum.  6x9.  $4.00 

PRIVATE  SCHOOLS 

The  27th  edition  of  this  well  known  Handbook,  just 
published,  reviews  the  educational  year  and  lists  or 
critically   describes   over   3000   schools.    $6.00 

Oreufors  ond  Tobfe  of  Contents  on  Requasf 
PORTER  SARGENT*  11   Beacon  St..  Boston 


s.vj±    anc 


Adult  Education  with  Films  at  Boston  University 

There  are  a  number  of  interesting  uses  made  of  the 
fihns  from  the  hbrary  of  the  Division  of  Teaching  Aids, 
Boston  University,  one  of  the  largest  educational  film 
libraries  in  the  country.  Last  year  films  were  distrib- 
uted to  thirty  different  states  and  were  used  by  many 
types  of  educational  institutions  and  groups,  churches, 
industrial  companies,  clubs  and  organizations  of  all 
kinds.  The  Division  of  Teaching  Aids  has  an  advisory 
service  which  arranged  special  educational  film  pro- 
grams. 

Recognizing  the  potential  possibilities  of  using  the 
educational  filin  for  popular  adult  education,  Boston 
University  established  this  year  "A  University  of  the 
Screen,"  a  series  of  weekly  film  programs.  The  first 
course,  consisting  of  six  meetings  beginning  February 
3rd,  emphasized  the  use  of  films  related  to  the-War  and 
to  Inter-American  affairs.  These  programs  provided 
a  previewing  opportunity  for  leaders  interested  in  the 
use  of  War  Information  films  before  their  own  organiza- 
tions. Series  Two,  extending  from  March  17th  to  May 
5th,  was  concerned  with  general  popular  adult  educa- 
tion and  presented  films  chosen  from  many  subject 
matter  areas. 

Individual  admission  tickets  for  the  series  of  eight 
meetings  was  $2.00  for  individual  enrollment,  or  $5.00 
for  a  family  enrollment.  For  information  as  to  similar 
programs  planned  for  the  fall,  write  to  Boston  Univer- 
sity School  of  Education,  84  Exeter  Street,  Boston, 
Massachusetts. 

SMPE  Sessions  Feature  Industry's  War  Contributions 

Descriptions  of  how  the  motion  picture  art  and  in- 
dustry are  aiding  the  armed  services  and  the  war  effort 
were  highlights  of  the  53rd  Semi-Annual  Convention 
of  the  Society  of  Motion  Picture  Engineers  held  at  the 
Hotel  Pennsylvania,  New  York  City,  "May  4,  5  and  6, 
in  conjunction  with  the  National  Board  Meeting  of  the 
Motion  Picture  Theatre  Owners  of  America. 

Army  and  Navy  representatives  set  the  war  stage 
with  the  presentation  of  papers  on  the  industry's  role  in 
war  training  and  combat  films.  A  majority  of  the  30 
technical  papers  scheduled  for  delivery  during  the  six 
sessions  were  devoted  to  military  and  naval  subjects. 

On  the  opening  day  Naval  officers  described  the  use 
of  motion  pictures  in  the  Naval  war  program,  with  Lt. 
Williain  Exton,  Jr.,  of  the  Navy's  Bureau  of  Naviga- 
tion, discussing  the  many  "Developments  in  the  Use 
of  Motion  Pictures  by  the  Navy,"  and  members  of  the 
Navy's  Training  Section  explaining  the  "Production  of 
Training  Films  by  the  U.  S.  Navy." 

The  SMPE  members  convened  at  the  Museum  of 
Modern  Art  Film  Library  Tuesday  evening  for  an  illus- 
trated discussion  on  "The  Work  of  the  Film  Library 
in  War  Time"  by  Curator  Iris  Barry. 

Wednesday's  sessions  featured  varied  technical 
papers,  with  accent  on  a  new  method  of  preserving  valu- 
able and  historic  films  in  the  Library  of  Cosgress. 


June,   194} 


Page  221 


Afoisi 


Thursday  was  Army  Day,  with  Army,  Air  Corps  and 
Signal  Corps  officers  giving  thirteen  lectures,  many 
illustrated,  covering  numerous  war  film  activities.  The 
talks  described  the  actual  filming  and  producing  of  army 
films  and  their  final  use  in  the  training  and  combat 
fields. 

The  convention  closed  Thursday  night  with  an  illus- 
trated lecture  on  "Visual  Processes  and  Color  Photog- 
raphy" by  Ralph  Evans  of  the  Eastman  Kodak  Com- 
pany. 

Changes  in  Detroit  Visual  Department 

Mr.  W.  W.  Whittinghill,  who  has  been  supervising 
the  Department  of  Visual  and  Radio  Education  of  the 
Division  of  Instruction,  Detroit  Public  Schools,  for 
a  long  period  of  years,  left  that  department  on  April 
1,  1943  to  become  a  member  of  the  Business  Depart- 
ment of  the  Detroit  Board  of  Education.  His  new 
title  is  Director  of  Transportation  and  Warehousing. 

The  former  Department  of  Visual  and  Radio  Edu- 
cation embraced  three  units — the  Visual  Section,  Radio 
Section,  and  Children's  Museum  Section.  These  are  now 
constituted  as  three  departments  with  the  following  of- 
ficers in  charge:  Visual  Department,  Mr.  Joseph  K. 
Boltz ;  Radio  Department,  Mrs.  Kathleen  Lardie ; 
Children's  Museum,  Miss  Margaret  Brayton.  All 
three  Departments  are  under  the  general  supervision 
of  Mr.  Manley  E.  Irwin,  Divisional  Director  of  the 
Division  of  Instruction. 

Uruguayan  Educator  Visits  the  United  States 

Jose  Pedro  Puig,  Chief  of  the  Cinematographic  Sec- 
tion of  the  National  Council  on  Primary  and  Normal 
Education  in  Uruguay,  arrived  in  Washington  April 
23,  1943,  for  a  three  months'  visit  at  the  invitation  of  the 
Department  of  State. 

Sr.  Puig  has  produced  several  16mm.  films  on  edu- 
cational topics  in  his  country,  and  has  brought  four  of 
these  films  with  him  to  the  United  States,  dealing  with 
rural  schools  and  the  life  of  country  children  in  Uru- 
guay. It  is  his  intention  to  show  these  pictures  before 
teachers  in  schools  and  universities,  and  other  groups 
of  persons  interested  in  observing  and  studying  visual 
education  in  the  other  American  republics. 

Sr.  Puig  is  also  a  writer  of  note,  on  educational  sub- 
jects, and  regularly  contributes  articles  on  educational 
motion  pictures  and  their  possibilities  to  the  Andes  de 
Instruccibn  Prhnaria,  an  official  government  magazine 
edited  and  published  in  Montevideo. 

Greatly  interested  in  the  war  eflfort.  Sr.  Puig  plans 
to  visit  several  defense  plants  throughout  the  United 
States,  as  well  as  the  studios  of  such  nontheatrical  film 
producers  as  Erpi  and  the  Museum  of  Modern  Art  in 
New  York,  and  Bell  and  Howell  in  Chicago.  He  is 
eager  to  see  the  production  of  educational  pictures  here, 
and  to  absorb  new  methods  and  ideas. 

Sr.  Puig  is  making  a  study  of  visual  education  as 
carried  on  in  the  schools  of  the  United  States  and  is 
interested  also  in  observing  the  use  of  recordings  for 
musical  education. 


USE  OUR  PAYMENT  PLAN 
FOR  FILM  PURCHASES 

School  Film  Libraries  and  cooperative  groups 
find  our  budget  payment  plan  a  helpful,  practical 
method  of  securing  the  16  mm.  sound  and  silent 
pictures  they  desire  without  taxing  their  resources. 

Under  this  arrangement,  the  films  are  paid  for 
in  convenient  monthly  installments  out  of  Income. 
Pictures  may  be  screened  prior  to  purchase.  A 
minimum  purchase  of  10  subjects  Is  required. 


HAVE  YOU  A  COPY 
OF  OUR  NEW  CATALOG? 

It  Is  by  far  the  largest  and  most  complete  ever 
Issued — containing  approximately  3000  Entertain- 
ment and  Educational  subjects  available  for 
rental  and  sale. 

H)UJ  :LJ1I'I'U;»  SOUND  ^  JY"^  S„  f  NT  IMIWliJI.IJHK 

25  W.  45th  St.  Dept.  E-6  New  York 


lEA  Film  Goes  to  South  America 

The  Illinois  Education  Association  film  production, 
"Backing  Up  the  Guns"  (reviewed  in  the  October,  1942 
issue  of  Educ.\tional  Screen)  will  be  shown  to  South 
American  audiences  through  the  office  of  the  Coordin- 
ator of  Inter-American  Affairs.  Both  Spanish  and 
Portuguese  versions  will  be  prepared  to  demonstrate 
to  our  Latin  American  neighbors  the  vital  role  the 
public  schools  in  the  United  States  are  playing  in  the 
war  program. 

Fighting  French  Distribute  Films  in  U.  S. 

The  Fighting  French  have  opened  a  film  distribution 
office  at  723  Seventh  Avenue,  York  City,  and  have  edit- 
ed ten  short  subjects  in  16mm  and  35mm  sound  versions 
from  the  footage  photographed  by  Fighting  French  sig- 
nal corps  men  in  Canada,  Africa,  England  and  Mada- 
gascar. These  films  have  been  shown  mostly  to  non- 
commercial groups,  such  as  high  schools,  clubs, 
academies.  Government  military  offices,  and  USO  can- 
teens. A  new  .series  is  in  preparation,  titled  "This  Is 
France."  It  will  treat  the  country  as  depicted  in  books 
and  travelogues. 

Correction 

Mr.  I.  C.  Boerlin,  Supervisor  of  Audio- Visual  Aids 
at  the  Pennsylvania  State  College,  is  Chairman  of 
the  recently  organized  Pennsylvania  Civilian  Defense 
Film  Committee,  and  not  Mary  A.  Kunkel,  as  stated 
in  the  April  issue  of  Educational  Screen  (News 
and  Notes  department). 


Page  222 


CutiEni  ^jdm  <^^s^aj± 


■  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York  City,  announce  that  the 
film  record  of  two  historically  important 
American  actions  in  the  Pacific  war  can 
be  obtained  for  school  use  in  16mm  sound 
and  titled  versions  through  their  two 
forthcoming  releases : 

Yanks  Bomb  Tokyo — the  thrilling 
revelation  of  the  bomber  raid  on  Japan 
from  the  aircraft  carrier  Hornet.  The 
action  starts  with  the  blasting  of  an 
unlucky  Jap  patrol  boat  from  the  rag- 
ing sea.  Never-to-be-forgotten  are  the 
scenes  of  the  daring  take-oflf  as  one  by 
one  the  heavily  laden  bombers  roar  off 
the   narrow  flight   deck   of   the   storm- 


-..*     -  4ihl- 


Sceties    from    "Yanks    Bomb    Tokyo" 


tossed  carrier.  Captured  Japanese  film 
shows  the  kind  of  air-raid  precautions 
that  failed  when  the  Yanks  swooped 
over  Tokyo  at  house-top  level.  The 
dramatic  end  of  the  history-making 
achievement  is  seen  in  China  as 
Madame  Chiang  Kai-chek  decorates 
General  Doolittle  and  other  survivors 
of  the  daring  raid.  All  the  world  now 
knows  what  happened  to  the  seven 
American  flyers  who  crashed  in  Jap- 
held  China. 

Bismarck  Sea  Victory — the  other 
reel — shows  the  utter  destruction  of  a 
Jap  fleet  of  22  ships  by  land-based 
American  and  Australian  bombers. 
The  entire  Jap  convoy  is  seen  steam- 
ing along  in  orderly  array  before  it 
scatters  in  an  attempt  to  avoid  Mac- 
Arthur's  wave-skimming  attackers,  em- 
ploying the  devastating  new  "skip- 
bombing"  technique.  Ship  after  ship 
in  the  Jap  flotilla  is  bombed  to  de- 
struction. The  film  shows  enemy 
ships  go  up  in  flames,  and  battered, 
burning  hulks  litter  the  sea.  There  is 
an  amazing  sequence  of  aerial  photog- 
raphy as  two  defending  Zeros,  caught 
in  a  hail  of  bullets,  explode  and  dis- 
integrate in  mid-air! 

■  Walter  O.  Gutlohn,  Inc.,  25  W. 
45th  St.,  New  York  City,  announce  the 
release  of  a  very  timely  16  mm.  silent 
color  film  entitled : 

Uncle  Sam's  Siberians — 3-reel  docu- 
mentary picture  presenting  vivid  and 
interesting  scenes  of  the  strategic 
Aleutian  Islands  and  the  Bering  Sea 
region.  The  film  shows  in  detail  much 
of  a  vital  area  so  little  known  to  us 
and  so  important  to  both  the  defensive 
and  offensive  operations  against  the 
Japanese.  Available  for  rental  and 
sale. 

■  Erpi  Classroom  Films  Inc.,  1841 
Broadway,  New  York  City,  have  com- 
pleted production  on  two  16mm  sound 
reels,  entitled : 

Discovery  and  Exploration — describ- 
ing with  animated  drawings  the  North 
American  territory  involved  during  the 
period  1492  to  1700.  Sequences  include 
routes  followed  by  explorers  from  the 
old  world  in  seeking  new  routes  to  the 
east ;  the  Spanish  conquests  of  rich 
kingdoms ;  and  the  mid-continent  develop- 
ments in  quest  of  the  beaver.  The  nar- 
ration gives  due  significance  to  the  na- 
tional and  personal  motives  involved. 

Sound  Recording  and  Reproduction 
— which  explains  the  mechanics  of  sound 
transformation  and  transmission  from 
the  source  to  the  loudspeaker  in  the 
motion  picture  projector.  Concepts  pre- 
sented include  the  conversion  of  sound 
waves  to  electrical  impulses ;  the  con- 
version of  electrical  impulses  to  light 
changes  registered  on  photographic  film; 
various  types  of  sound  track;  construc- 
tion  and   operation   of   the   light   valve; 


The  Educational  Screen 

the  optical  system  employed  in  making 
the  sound  track;  the  motion  picture 
print  combining  photography  of  picture 
and  sound;  and  the  reversal  of  recording 
processes  in  reproducing  the  sound 
record. 

■  Bell  &  Howell  Co.,  1801  Larchmont 
Ave.,  Chicago,  list  the  following  new 
films  as  late  acquisitions  by  their  Film- 
sound  Library : 

Paris  Calling — 12-reel  Universal  fea- 
ture starring  Randolph  Scott  and  Eli- 
zabeth Bergner.  It  is  a  thrilling  drama 
of  the  French  "underground"  move- 
ment for  freedom,  involving  mass  flight 
from    the    invading    Nazis,    hairbreadth 


A  shot  from  "Paris  Calling" 

escapes  from  Gestapo  agents,  an  in- 
genious secret  radio  transmitter,  and  a 
breath-taking  commando  raid.  This 
film  will  be  available  after  July  16  to 
approved  non-theatrical  locations. 

Menace  of  the  Rising  Sun — ^2-reel 
Universal   special. 

Nesting  of  the  Sea  Turtle — 1-reel 
silent  biology  teaching  film. 

Chaplin  Festival — 12  re-issued  Chap- 
lin comedies,  recently  sounded,  and 
distributed  by  RKO.  Titles  include 
The  Cure,  Easy  Street,  The  Rink,  The 
Floonvalker,  The  Vagabond,  The 
Pawnshop,  The  Fireman,  The  Count, 
The  Immigrant.  One  A.  M.,  Behind  the 
Screen,  The  Adventurer.  Available  on 
lease  or  rental  basis. 

■  The  Pennsylvania  State  College, 
State  College,  Pa.,  reports  the  latest 
release  from  the  college  motion  picture 
production    unit: 

Drafting  Tips— 1037  feet  16mm 
sound — designed  to  give  instruction  in 
the  use  and  care  of  drafting  equipment, 
and  to  emphasize  the  importance  of 
cleanliness  and  accuracy  in  drafting 
work.  It  contains  instruction  on 
proper  sheet  layout  and  the  use  of  an 
alphabet  of  lines.  The  film  graphically 
depicts  the  best  procedure  in  develop- 
ing a  drawing  from  beginning  to  end 
in  the  most  efficient  and  accepted 
manner. 

For  information  or  purchase,  ad- 
dress Mr.  I.  C.  Boerlin,  Supervisor  of 
Audio- Visual  Aids,  Central  Extension 
Office. 


June,  194} 


Page  223 


■  Commonwealth  Pictures  Corpora- 
tion. 729  Seventh  Ave.,  New  York  City 
offers  the  following  two  new  feature 
pictures  in  16nim  sound: 

Adventures  at  the  Baskervilles — 8 
reels — a  detective  yarn  based  on  a  Conaii 
Doyle  .story  "'Silver  Blaze."  Arthur 
Wontner,  who  has  played  Holmes  on  the 
stage  and  .screen  many  times,  and  Lyn 
Harding,  best  known  for  his  representa- 
tion of  the  villainous  Professor  Moriarty, 
once  more  pit  their  wits  against  each 
other. 

The  locale  of  the  new  Holmes'  story 
is  the  same  as  that  of  "The  Hound  of 
the  Baskervilles,"  but  the  new  adventure 
takes  place  20  years  after  tnat  episode. 
This  time  Holmes'  interest  is  intrigued 
by  the  disappearance  of  a  horse.  He 
uncovers  one  clue  after  another  that 
leads  him  to  believe  that  his  old  enemy, 
Professor  Moriarty,  is  at  the  bottom  of 
the  crimes,  but  before  he  can  pin  the 
accusation  on  him,  two  other  murders 
occur,  and  Dr.  Watson  nearly  loses  his 
life. 

Code  of  the  Red  Man — 7  reels- 
released  by  Monogram  as  "King  of  the 
Stallions."  This  film  presents  a  drama 
of  the  Wilderness — told  against  the  back- 
ground of  an  Indian  village  on  the  south- 
west frontier.  Around  this  has  been 
woven  a  suspenseful  story  featuring  the 
magnificent  horse,  "Thunder."  Most  of 
the  important  roles  are  enacted  by  full- 
blooded  Indians,  including  Chief  Thunder- 
cloud, Princess  Bluebird,  and  hundreds  of 
redskins  from  the  various  tribes  of  the 


From  "Code  of  the  Red  Man" 

West.  A  fight  to  the  death  between 
Thunder,  the  equine  hero  of  the  story, 
and  Paint,  a  completely  wild  horse  lead- 
ing his  band  of  stallions  down  from  the 
mountains,  is  one  of  the  highlights  of 
the  picture. 

■  Aetna  Life  Insurance  Company, 
Hartford,  Conn.,  has  issued  a  new  sound 
film  on: 

How  to  Plan  a  Victory  Vegetable 
Garden — filmed  in  cooperation  with 
the  National  Victory  Garden  Institute. 
Designed  to  assist  the  nation's  spare- 
time  gardeners  in  getting  a  maximum 
return  from  their  gardens,  it  gives  spe- 
cific suggestions  on  correct  location  for 
a  garden,  proper  size,  and  the  best  crops 
to  plant.  This  film  is  the  first  in  a 
series   entitled    "Pointers   for    Planters." 


Other  subjects  to  be  covered  in  the  film 
series  include :  the  proper  cultivation 
and  harvesting  of  the  garden;  and  the 
storing  and  preserving  of  the  crop. 

■  Brandon  Films,  Inc.,  1600  Broadway, 
New  York  City,  will  release  several 
special  representative  United  Nations 
film  programs  effective  June  14th,  1943, 
National  United  Nations  Day.  These 
programs  of  16mm  soundfilms  will  be 
available  nationwide  from  regional  com- 
mercial and  educational  film  libraries  on 
rental  in  the  form  of  grouped  units,  each 
unit  containing  several  films  dealing  with 
the  people  of  member  nations  of  the 
United  Nations.  The  special  programs 
have  been  selected  with  a  view  towards 
supplying  organizations,  schools,  defense 
councils,  labor  and  industry  with  suitable 
short  film  programs  to  be  utilized  at 
meetings,  seminars,  rallies  and  confer- 
ences dealing  with  the  United  Nations. 

The   Dutch,  the    Polish   Underground, 
the    Czechs    and    the    Soviet    Union    are 


PROTECT    FILMS 


UOVrit  ^(.Rlfj  tTILLS 

VAP,0RATE 

ASK  rOUR  DCALER^OR  PHOTOFINISHER 
«*rORATECO..  INC.*  BELL  •  HOWELL  CO 
1^0  WeitMtti  St.  1801  LanhMnU  CklMw 
NewYorlLN.Y.        7I6N.  Ubraa.  Hollywood 


AGAINST 
CLIMATE  , 
SCRATCH- 
ES STAINS 
r  ING  E  R- 
MARKS-TME 
WAY  THE 
U.  S.  GOV- 
ERNMENT 
AND  THE 
H  O  L  L  V  . 
WOOD  PRO- 
OUCERSDO 


featured  in  United  Nations  Special  Pro- 
gram No.  1  which  contains  the  follow- 
ing short  films :  The  Nnv  Earth,  Joris 
Ivens  documentary  of  Holland ;  A  Drop 
of  Milk,  a  short  story  film  of  Polish 
resistance;  The  Czechs  March  On,  and 
Under  Siege,  the  record  of  the  turning 
point  in  the  Axis  attack  on  Moscow. 

Arrangements  have  been  made  so  that 
individual  organizations  may  secure  these 
special  programs  for  one  day,  and  for 
larger  regional  organizations  to  lease 
copies  of  the  films  for  longer  periods  of 
time. 


czrfmona  tkz  iZ-^zoducEZi 


Viaual  Aids  for  Indtistrial  Trcdning 

Photo  &  Sound,  Inc.,  San  Francisco 
motion  picture  and  slidefilm  producers, 
are  assisting  personnel  departments  of 
many  industrial  concerns  in  their  em- 
ploye training  program  by  providing  suit- 
able visual  teaching  tools.  Now  in  regu- 
lar use  by  the  shipbuilding  industry  is 
Photo  &  Sound's  series  of  reading  slide- 
films  covering  every  phase  of  shipfitting 
practice,  ranging  from  demonstrations  of 
simple  tools  to  the  more  complex  pro- 
cedures of  installing  pre-fabricated  units 
in  the  ship's  hull.  Users  of  the  slidefilms 
report  that  they  have  made  it  possible  to 
train  large  numbers  of  workers  more 
thoroughly  and  in  less  time  than  by  any 
other  method  of  demonstration.  Sets  of 
these  films,  including  from  80  to  90  sub- 
jects, are  in  use  by  more  than  100  schools 
and  plants  throughout  the  country,  ac- 
cording to  the  producer. 

Blueprint  reading  is  another  subject 
to  which  slidefilms  can  contribute.  A 
series  on  "Training  in  Blue  Print  Read- 
ing" explains  blue  print  layout,  projec- 
tion, standard  lines,  standard  symbols, 
sections  and  detail  designations.  A  work- 
ing manual  supplements  this  series,  pro- 
viding a  completely  illustrated  reference 
work  on  the  principal  factors  involved  in 
Blue  Print  Reading. 

A  one-reel  16mm  sound  motion  picture 
in  color  on  "Short  Whip  Vertical  Weld- 
ing" has  also  been  issued  to  aid  trainees 
in  learning  the  fundamentals  of  vertical 
arc  welding. 

Complete  facilities  for  motion  picture 
cartoon  animation  have  just  been  installed 
by  Photo  and  Sound  consisting  of  a 
specially  designed  camera,  illuminated 
drawing  tables  and  camera  stand  with 
built  in  registering  controls,  and  a  special 
projection  unit  for  plotting  animation  se- 


quences. Motion  picture  producers  en- 
gaged in  the  production  of  training  films 
advise  that  cartoon  animation  is  indis- 
pensable for  graphic  portrayal  of  certain 
operating  techniques  in  films  for  training 
purposes. 

Keystone  Slides 
On  Aeronautics 

This  new  series  of  lantern  slides — 
standard  size,  3Vi"  by  4" — by  Alexander 
Klemin  of  the  Daniel  Guggenheim  School 
of  Aeronautics,  New  York  City,  has  been 
prepared  with  a  view  to  complete  co- 
ordination with  the  high-school  pre- 
flight  training  courses,  such  as  are  now 
being  undertaken  in  the  most  advanced 
and  progressive  schools  of  the  country. 
They  are  divided  into  the  following 
twelve  units,  which  cover  all  the  topics 
dealt  with  in  pre-flight  training  in  ac- 
cordance with  the  program  developed  by 
the  Civil  Aeronautics  .Administration  and 
the  U.  S.  Office  of  Education :  Historical 
Background,  Types  of  Airplanes,  Aero- 
dynamics, Aircraft  Materials  and  Their 
Uses,  Aircraft  Structure,  Structural  De- 
tail of  the  Airplane,  Airplane  Controls, 
Airplane  Engines,  Propellers,  Meteor- 
ology, Navigation  and  Radio,  Aircraft 
Instruments  and  Accessories. 

The  slides  are  the  work  of  an  aero- 
nautics teacher  of  long  experience  and 
excellent  reputation,  who  has  kept  care- 
fully in  view  both  the  needs  of  the  stu- 
dent, and  the  teachers'  viewpoint.  Ac- 
companying the  series  is  a  brief  manual, 
coordinating  fully  with  the  slides  and 
written  in  simple,  but  technically  accurate 
style,  which  can  be  used  by  the  teacher 
with  full  confidence,  and  can  also  be 
placed,  if  necessary,  in  the  hands  of  the 
students. 


Page  224 


The  Educational  Screen 


TJL'  Of     TT'tlT^^       &  TSf  A  Trade  Directory 

XXC^r^L^       X  X±U   X       £\jC^XLm  for  the  Visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425  Williams  St.,  Denver,  Colo. 

Bailey   Film   Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on   inside  front  cover) 

Better  Films  (2) 

742A  New  Lots  Ave.,  Brooklyn,  N.Y. 

(See  advertisement  on  page  220) 

Bray  Pictures  Corp.  (3,  6) 

729    Seventh   Ave.,    New   York  City 

Castle  Films  (2,  5) 

RCA  Bldg.,  New  York  City 

College  Film  Center  (3,  5) 

84   E.   Randolph  St.,  Chicago. 


Creative  Educational  Society 
4th  Fl.,  Coughlan  Bldg. 
Mankato,  Minn. 


(1) 


DeVry  School  Films  (3) 

1111  Armitage  Ave.,  Chicago 

(See  advertisement  on  pa^e  194) 


Eastman  Kodak  Co. 

Teaching  Films  Division 
Rochester,  N.  Y. 


(3) 


Eastman  Kodak  Stores,  Inc.  (3) 

Eastman   Classroom   Films 
356  Madison  Ave.,  New  York  City 

Father  Hubbard  Educational  Films  (2) 
188  W.  Randolph  St.,   Chicago 
Santa  Clara,  Calif. 

(See  advertisement  on  pasre  220) 

Films,   Inc.  (3) 

330  W.  42nd  St.,  New  York  City 

64  E.  Lake  St.,  Chicago 

314  S.  W.  Ninth  Ave.,  Portland,  Ore. 

Fryan  Film  Service  (3) 

East  21st   and   Payne   Ave., 
Cleveland,    Ohio 

General  Films,  Ltd.  (3,  6) 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  4Sth  St.,  New  York  City 

(See  advertisement  on  page  221) 

Hoffberg  Productions,  Inc.  (2,5) 

1600  Broadway,  New  York  City 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  CTiicago,  111. 

(See  advertisement  on  page  193) 

Knowledge  Builders  Classroom  Films 
625  Madison  Ave., 
New  York  City  (2,5) 

Post  Pictures  Corp.  (3) 

yZi  Seventh  Ave.,  New  York  City 

The  Princeton  Film  Center  (2) 

106  Stockton  St.,  Princeton,  N.  J. 


Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd.,  St.  Louis,  Mo. 

(See  advertisement  on  page  216) 

Texas  Visual  Education  Co.  (3) 

305   West    10th   St.,    Austin,   Tex. 

Universal  Pictures  Co.,  Inc.  (S) 

Rockefeller  Center,  New  York  City 

Vocational  Guidance  Films.  Inc.        (2) 
2718  Beaver  Ave.,  Des  Moines,  la. 

Williams,  Brown  and  Earle,  Inc.    (3,  6) 
918  Chestnut  St..  Philadelphia,  Pa. 

Y.M.C.A.  Motion  Picture  Bureau       (3) 

347  Madison  Ave.,  New  York  City 
19  S.  LaSalle  St.,  Chicago 
351  Turk  St.,  San  Francisco,  Cal. 
1700  Patterson  Ave.,  Dallas,  Tex. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The   Ampro    Corporation  (3) 

2839  N.  Western  Ave.,  Chicago 
(See  advertisement  on  page  196) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave..  Chicago 

(See  advertisement  on  inside  front  cover) 

DeVry  Corporation  (3,  6) 

1111   Armitage  Ave.,   Chicago 

(See  advertisement  on  page  194) 


Eastman  Kodak  Stores.  Inc. 

KoHasrnne   Libraries 

356  Madison  Ave.,  New  York  City 


(3) 


General  Films.  Ltd.  (3.  6) 

1924   Rose    St.,   Regina,   Sask. 
156  King  St.,  W.  Toronto 

Ideal  Pictures  Corp.  (3.  6) 

28  E.  Eighth  St.,  Chicago 

(See  advertisement  on  page  193) 

RCA   Manufacturing  Co.,   Inc.        (2) 

Educational  Dept.,  Camden,  N.  J. 

S.  O.  S.  Cinema  Supply  Corp.  (3,  6) 

449  W.  42nd  St.,  New  York  City 

Texas   Visual   Education   Co..  (3) 

305  West  10th  St.,  Austin,  Tex. 

Victor  Animatograph  Corp.  (3) 

Davenport,  Iowa 

(See  advertisement  on   page  211) 

Williams.  Brown  and  Earle,  Inc.    (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Radiant  Mfg.  Corp. 

1140  W.  Superior  St.,  Chicago 

(See  advertisement  on  page  217) 

Society  for  Visual  Education,  Inc. 
100  E.  Ohio  St.,  Chicago,  111. 

(See  advertisement  on   outside  back   cover) 

Williams.  Brown  and  Earle,  Inc. 

918    Chestnut   St.,   Philadelphia,    Pa. 


SLIDEFILMS 

Foley  &  Edmunds,  Inc. 

480  Lexington  Ave.,  New  York  City 
(See  advertisement  on  page  219) 

Society  for  Visual  Education.  Inc. 

100  E.  Ohio  St.,  Chicago.   111. 

(See  advertisement  on  outside  bacl<  cover) 

Visual  Sciences 

Suffern.    New   York 

(See  advertisement  on  page  220) 

Williams,  Brown  and  Earle,  Inc. 

918  Che.-itnut  St.,  Philadelphia,  Pa. 

SLIDES  (KODACHROME  2x2) 

Klein  &   Goodman 

18  S.  10th  St.,  Philadelphia,  Pa. 
Society  for  Visual  Education,  Inc. 

100   E.   Ohio   St.,   Chicago.    111. 

(See  advertisement  on   outside  baclc  cover) 

SLIDES  (STANDARD  3'/4x4) 

Ideal  Pictures  Corp. 

28  E.   Eighth  St.,  Chicago.  111. 

(See  advertisement  on  page  193) 

Keystone  View  Co. 

Meadville,  Pa. 

(See  advertisement  on  page  213) 

Radio-Mat  Slide  Co.,  Inc. 

222  Oakridge  Blvd. 
Daytona  Beach,  Fla. 

(See  advertisement  on  page  220) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,  N.  Y. 

(See  advertisement  on    inside  baclc   cover) 

DeVry  Corporation 

nil  Armitage  Ave.,  Chicago 

(See  advertisement  on  page  194) 

General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

Keystone  View  Co. 

Meadville,  Pa. 

(See  advertisement  on  page  213) 

Society  for  Visual  Education,  Inc. 
100  E.  Ohio  St.,  Chicago.  111. 

(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  215) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 

16 

mm 

silent. 

(2) 

indicates 

16 

mm 

sound. 

(3) 

indicates 
silent. 

16 

mm 

sound 

and 

(4) 

indicates 

33 

mm 

silent. 

(5) 

indicates 

33 

mm 

sound. 

(6) 

indicates 
silent. 

33 

mm 

sound 

and 

Continuous  insertions  under  one  heading,  $2.00  per  issue;  additional  listings  under  other  headings,  $1.00  each. 


EDUCATIONAi. 

SCR 


THE   MAGAZINE   DEVOTED   TO   AUDIO-VISUAL  AIDS   IN    EDUCATION 


Public  Library 
Kansas  City,  Mo. 
Teachers  Library 


25^  A  COPY      $2.00  PER  YEAR 


SEPTEMBER.    I  943 


something  has 
happened  •  •  • 


lY  DAILY  WIRE,  by  phone,  by  mail  — 
we  learn  of  the  extreme  urgency  for 
Victor  16mm  Motion  Picture  Equipment  — 
Animatophones  —  from  the  Signal  Corps, 
from  the  Nayy,  the  Army,  the  Marines,  the 
Air  Corps,  from  Industry,  and  training 
schools  —  the  world  over. 

There's  but  One  Answer  —  that  nothing 
can  equal  the  Sight  -  Sound  -  Sequence 
advantages  in  16  mm  Motion  Picture  Equip- 
ment for  training  millions  faster,  faster,  al- 
ways faster. 

It  took  a  war  to  do  it  •  • 

Some  would  hove  continued  perhaps  for 
generations  with  the  "Little  Old  Red  School- 
house"  methods  —  others  might  have 
gingerly  given  it  a  haphazard  trial  —  but 
today,  all  concede  its  unquestioned  super- 
iority OS  a  teaching-training  medium. 


Wars  are  lost  because  of  inadequate  train- 
ing. Every  day  faster  and  better  training, 
highlighted  with  Sound  Motion  Pictures,  is 
saving  lives,  bringing  Victory  closer.  Every 
day  quick,  efficient  training  is  speeding  up 
war  production.  Every  day  16mm  Sound 
Motion  Pictures  are  entertaining,  building 
fighting  morale  of  our  Armed  Forces. 

In  all — this  is  the  greatest  worldwide  proof 
of  the  unbelievable  accomplishments  of 
16mm  Motion  Picture  Films  and  Equip- 
ment. Yes,  something  has  happened  .  .  . 
something  that  makes  bright  the  future 
of  teaching  and  training. 


VICTOR — IN  ACTION.  Today  Victor  1%  supplying  V/efer 
16mm  Cameras  aitd  War  Motion  Heturo  frojeetors  to  all 
military  fronts,  all  homo  war  training  fronts — and  In  addi- 
tion "round  tho  clock"  production  of  Important  radar,  air- 
plana,  and  othor  highly  technical  war  devices.  Tomorrow 
— Victor,  the  active  force  In  16mm  Equipment  developments 
since  the  origin  of  16mm,  will  supply  your  peacetime  de- 
mands with  the  newest,  latest  war-born  Improvements, 


Animafograph  Corporation 


September,  1943 


Page  225 


i:t»fS:^V>  S^il.&^Xtt 


CASTLE  FILMS 


PRESENTS 

''VICTORY 
IN  SICILY" 

An  authentic  record  of  the  first  thrust 
on  Axis-held  Europe.  You  see  Ameri- 
cans, Canadians,  and  Britons  hurl  them- 
selves ashore  from  landing  barges,  the 
Navy   bombarding   enemy   strong 
p>oints,  and  the  actual  Allied 
sweep  forward  to  vie 
tory.  And  on  the 
same  film  . . . 


These  CASTLE  FILMS' 
Educational  Subjects 

ore  of  permanent  value 

to  every,  school 

movie-library ! 


CASTLE  FILMS 


•  *'^^ 


•NC. 


World's  Largest  Distributor  of  8mm  and  16mm  movies 


RCA  BIDG. 
NIW  YORK,  aO 


FIELD   BLDG. 
CHICAGO,  3 


RUSS  BLDG. 
SAN  FRANCISCO,  4 


^' 


your  Photo  or  Visual  Aids 
Dealer  about  these  and 
other  subjects/  or  write 

EducoHonal  Department 

ASTLE  FILMS,  INC. 


Page  226 


The  Educational  Screen 


"Islands  of 
Netherlands  India' 


DtVRY  16mm; 
yound-on-Film  Projector. 


Get  your  free  copy  of  the  new  DeVRY  FILM 
CATALOG.  A  mighty  collection  of  16mm. 
sound  and  silent  EDUCATIONAL  FILMS  .  .  . 
PLUS  a  wealth  of  16mm.  sound  Hollywood- 
type  RECREATIONAL  FILMS.  EDUCA- 
TIONAL titles  cover  history,  geography,  voca- 
tional training,  health,  safety,  literature,  music, 
the  sciences — and  current  events.  RECREA- 
TIONAL FILMS  include  full-length  features, 
comedies,  cartoons — and  selected  shorts. 

SPECIAL  LONG-TERM  DISCOUNTS 

Attractive  discounts  for  long-term  bookings. 
You  want  a  copy  of  "DeVRY  FILMS"  for 
your  files — IT'S  FREE!  Address  your  request 
to  DeVRY  FILMS  and  LABORATORIES, 
1111  Armitage  Avenue,  Chicago  14,  Illinois. 
WRITE  TODAY !  And  don't  Jorgel  to  buy  today's 
quota  oj  U.  S.  War  Bonds  and  Stamps,  tool 


— for  Excelltnct  in 
the  Production  of 
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X 


Distributors  in  World's  Principal  Cities 
WORLD'S    MOST    COMPLETE    LINE    OF    MOTION    PICTURE    SOUND    EQUIPMENT 


Your  Copy  of  ^Wooie  Ae<<Ai ''Awaits  You 


No.  1  of  Vol.  15  "DeVRY  MOVIE  NEWS"  is  just  off 
the  press.  Its  12  pages  are  packed  with  interesting 
pictures,  comments,  data,  behind  a  full  color  patriotic 
cover.  You  will  find  in  it  a  review  of  many  wartime 
jobs  motion  picture  men  and  equipment  are  doing  to 
help  speed  Victory  .  .  .  Suggestions  as  to  how  you 
may  be  able  to  adapt  war-developed  motion  picture 
ideas  to  your  postwar  operations.  "DeVRY  MOVIE 
NEWS"  is  FREE — if  you  will  write  for  a  copy  on  your 
organization  letterhead.  DeVRY  CORPORATION,  1111 
Armitage  Avenue,  Chicago  14,  U.S.A. 


MOVIE 


To  you  who've  thought  about  the  perfect 
8MM  MOTION  PICTURE  CAMERA 
&  PROJECTOR  ...  how  they  should 
look  .  .  .  how  their  operation  might 
be  perfected,  simplified,  DeVRY  will 
pay  J1500.00  in  U.  S.  War  Bonds  (ma- 
turity value)  for  over-all  design  ideas 
.  .  .  for  suggestions  as  to  how  camera 
and  projector  mechanism  can  be  im- 
proved.   Here's  how: 

DESIGN:  Submit  your  Ideas — in  rough 
or  finished  drawing — as  to  how  you 
think  the  new  8MM  MOTION  PIC- 
TURE CAMERA  or  PROJECTOR 
should  look.  Supplement  your  draw- 
ing with  brief  comments,  if  you  desjre. 
Enter  as  many  drawings  as  you  wish, 

MECHANICAL  OPERATION:  Sub- 
mit working  models,  mechatiical  draw- 
ings, rough  sketches.  The  idea  is  the 
thing — how  to  simplify,  improve,  per- 
fect either  camera  or  projector  opera- 
tion. 

ART  OR  DESIGN  ABILITY  NOT 
ESSENTIAL! 

Design  ideas  must  be  original,  prac- 
tical. Mechanical  suggestions  must  be 
original  and  contribute  to  the  over-all 
simplicity  and  effectiveness  of  opera- 
tion of  either  camera  or  projector 
mechanism.  You  don't  have  to  be  an 
artist  to  enter  this  competition.  You 
may  supplement  your  designs,  drawings, 
or  models  with  written  explanations. 
You  may  get  an  artist,  or  designer  to 
help  you. 

If  you  are  interested  in  entering  this 
competition  simply  send  your  name 
and  address  and  we  will  see  to  it  that 
complete  information.  Official  Entry 
Blank  and  suggestions  from  our  En- 
gineering Department  are  sent  you  by 
return  mail.    No  obligation! 

HERE  ARE  THE  26  AWARDS 

FOR  CAMERA  DESIGN:  1st  Prize, 
$200;  2nd  Prize,  $100;  3rd  Prize,  $50.00 
in  War  Bonds.  FOR  PROJECTOR 
DESIGN:  1st  Prize,  $200;  2nd  Prize, 
$100;  3rd  Prize,  $50.00  in  War  Bonds. 
FOR  MECHANICAL  REFINEMENTS: 
CAMERA— 6  $50.00  U.  S.  War  Bonds 
for  the  six  best  individual  mechanical 
ideas.  4  $25.00  bonds  for  the  four  best 
supplemental  designs,  or  mechanical 
suggestions,  contributing  to  the  over-all 
design  and  operation.  PROJECTOR — 
6  $50.00  U.  S.  War  Bonds  for  the  six 
best  individual  mechanical  ideas.  4 
$25.00  bonds  for  the  four  best  supple- 
mental designs,  or  mechanical  sugges- 
tions, contributing  to  the  over-all  de- 
sign and  operation. 

IMPORTANT  CONDITIONS  OF  THE 
COMPETITION  FOLLOW:  Contest 
closes  at  Midnight,  December  SIst,  1943. 
Awards  will  be  announced  on  or  before 
February  1st,  1944.  Do  not  contribute 
anything  until  you  have  read  full  par- 
ticulars of  the  competition  and  signed 
and    returned    Official     Entry     Blank. 


The  EDUCATIONAL  SCREEN 


THE  EDUCATIONAL  SCREEN 
SUff 

Nelson   L.   Greene,   -  -   -   Editor-in-Chief 

Evelyn  J.  Bakek    -    Advertising  Manager 

Josephine  Hoffman     -    -    Office  Manager 

Department   Editors 

John  E.  Dugan    -    Haddon  Heights,  N.  J. 

Donald  A.  Eldridge    -    New  Haven,  Conn. 

WiLBER    Emmert     -     -     .    -     Indiana    Pa. 

Hardy  R.   Finch     -    -    Greenwich,  Conn. 

Ann  Gale     ------    Chicago,  111. 

David  Goodman     -    -    New  York,  N.  Y. 

Josephine  Hoffman    -    -    -    Chicago,  111. 

L.   C.  Larson     -     -     -     Bloomington,   Ind. 

F.  Dean  McClusky    -    Scarborough,  N.  Y. 

Etta  Schneider    -    -    New  York,   N.  Y. 

Editorial  Advisory  Board 

Ward  C.  Bowen,  Chief,  Bureau  of  Radio 
and  Visual  Aids,  State  Education  De- 
partment,  Albany,   N.   Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools,  San  Diego. 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  E.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division.  Uni- 
versity of  Wisconsin,  Madison.  Wis. 

James  S.  Kinder,  Director  PCW  Film 
Service,  Pennsylvania  College  for 
Women,  Pittsburgh,  Pa. 

Boyd  B.  Rakestraw,  Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia, Berkeley,  Calif. 

Paul  C.  Reed,  U.  S.  Office  of  Education, 
Washington,   D.   C. 

Maj.  W.  Gayle  Starnes,  Chief,  Training 
Division,  Signal  Corps  Depot,  Lexing- 
ton, Ky. 

Leua  Trolincer,  Secretary,  Bureau  of 
Visual  Instruction,  Extension  Division, 
University  of  Colorado,  Boulder,  Colo. 

W.  W.  WiiiTTiNGHiLL.  Director  of  Trans- 
portation, Board  of  Education,  Detroit, 
Mich. 

SUBSCRIPTION  PRICE 

Domestic  $2.00 

Canada  $2.50 

Foreign    $3.00 

Single  Copies 25 


VOLUME  XXII 


SEPTEMBER,   1943 


NUMBER   SEVEN 
WHOLE  NUMBER  214 


Contents 

Cover  Picture — A  scene  from  the  film  "V/ings  Up,"  made  by 
the  Army  Air  Forces  First  Motion  Picture  Unit. 

(Courtesy  of  U.  S.  War  Department) 

OWI's  16mm  Motion  Picture  Program Paul  C.  Reed 

Visual  Aids  in  Cleveland  Schools M.  R.  Klein 

Split-Second  Seeing Samuel  R.  Ellis 

Motion  Pictures  a  Stimulant  to  Reading 

Interest  Corinne  Mead 

Motion  Pictures — Not  for  Theatres Arthur  Edv/in  Krows 

The  Film  and  International 

Understanding Edited  by  John  E.  Dugan 

The  Sixth  Annual  Meeting  of  the  Midwestern 

Forum  on  Audio-Visual  Teaching  Aids 


The  Literature  in  Visual  Instruction 

A  Monthly  Digest Conducted  by  Etta  Schneider 

School-Made  Motion  Pictures Conducted  by  Hardy  R.  Finch 

New  Films  of  the  Month Conducted  by  L.  C.  Larson 

News  and  Notes Conducted  by  Josephine  Hoffman 

Current  Film  News 


233 
236 
239 

24! 
243 

247 

248 

254 
256 
260 
264 
270 


Among  the  Producers 274 

Here  They  Arel  A  Trade  Directory  for  the  Visual  Field 276 


The  EDUCATIONAL  SCREEN  published  monthly  except  July  and  August  by  The 
Educational  Screen,  Inc.     Publication  Office,  Pontiac,  Illinois;  Executive  OfRce,  64 
East  Lake  St.,  Chicago,  Illinois.     Entered  at  the  Post  Office  at  Pontiac,  Illinois,  as 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lake  St.,  Chicago,  III. 


Page  228 


The  Educational  Screen 


A/ew 
KEYSTOXE  SetUi 


in 


AEROIVA1JTICS 


Unit 

I 

— Historical  Background 

Unit  VII  — Airplane  Controls 

Unit 

II 

— Types  of  Airplanes 

Unit  VIII — Airplane  Engines 

Unit 
Unit 

Unit 

III 
IV 

V 

— Aerodynamics 

— Aircraft    Materials    and 
Their  Uses 

— Aircraft  Structure 

Unit  IX     — Propellers 

Unit  X      — Meteorology 

Unit  XI     — Navigation  and  Radio 

Unit 

VI 

— Structural    Detail    of   the 
Airplane 

Unit  XII  — Aircraft  Instruments  and 
Accessories 

KEYSTOJ^E  quality  Means 


(1)  Subjects    carefully     selected    as    to     value    in     teaching 
Aeronautics. 

(2)  Photographic  copy  skillfully  prepared. 

(3)  Manual    for    teacher,  which    provides    brief    but    usable 
information. 


Prospectus  Sent  upon  Request 


KEYSTONE 

VIEW  COMPANY 


Meadville,  Penna. 


September,   194} 


Education    and    ^ea  16 lation—Kn 


Page   231 


Editorial 


Education's  Great  Task 

WAR  is  the  hideous  product  of  human  error ;  of 
individual  megalomania,  of  national  ambition 
and  injustice,  of  international  maladjustment,  mis- 
understanding, mistrust.  It  is  the  grewsome  eruption 
from  internal  infection,  a  poisonous  surface-growth 
upon  our  still  imperfect  civilization.  Only  armies  and 
navies  and  airfleets  can  cut  away  this  surface-growth. 
The  cost  of  the  cure,  in  wealth  and  woe.  is  incalculable, 
and  nothing  but  the  war  is  cured !  The  causes  of  war 
live  on.  Military,  naval  and  air  might  can  do  nothing 
against  them.  Universal  unselfishness  would  be  the 
total  cure,  attainable  some  time  beyond  the  millennium, 
perhaps.  But  the  world  can  at  least  move  toward  that 
goal. 

To  establish  unselfishness  as  a  universal  motive  is 
probably  the  supreme  and  ultimate  achievement  of  civi- 
lization. A  nation  that  contributes  to  prosperity  and 
contentment  for  the  world  best  serves  its  own.  But 
such  a  motive  cannot  be  engendered  by  industrial  or 
political  achievements,  however  monumental  or  profit- 
able those  achievements.  Only  by  intellectual  processes. 
by  mental  evolution,  can  the  motive  come  into  being 
and  permanence.  The  educational  feat  of  the  ages  will 
be  to  make  that  motive  dominant  in  the  soul  of  all 
humanity.  Only  education  has  even  a  chance  at  such 
an  accomplishment. 

\nsual  Instruction  Meets  Wartime  Challenge 

PEARL  HARBOR  plunged  this  country,  over  night 
into  the  greatest  war  in  history  and  instantly  posed 
the  most  staggering  educational  problem  that  ever  con- 
fronted a  nation — how  to  teach  the  ways  of  war  to 
peace-trained  millions — not  to  scores,  as  we  do  in  class- 
rooms— and  to  do  it  in  months — not  years,  as  the  Axis 
did  it.  Success  in  the  global  war.  for  all  the  United 
Nations,  depended  on  the  swift  solution  of  this  prob- 
lem in  America,  and  that  solution  depended  heavily  on 
the  visual  method.  It  was  a  major  factor  in  making 
the  "impossible"  task  possible.  The  youngest  and  new- 
est of  all  teaching  procedures,  the  one  with  the  stuffy 
name  of  "visual  education."  met  its  crucial  test,  on  a 
gigantic  scale,  and  for  all  the  world  to  see.  The  film 
became  one  of  our  most  important  weapons  of  warfare. 
All  branches  of  the  Armed  Forces — Army,  Navy. 
Coast  Guard,  Marine  Corps — immediately  began  pro- 
duction of  scores  of  films  for  use  in  their  training  of 
recruits.  The  U.  S.  Office  of  Education  produced  a 
series  of  vocational  films  for  the  training  of  war  workers 
in  special  skills.  This  agency  also  has  released  the 
Army  Air  Forces  pre-flight  training  films  to  educational 
and  vocational  institutions. 

This  master  demonstration  of  the  power  of  visual 
teaching  will  have  immeasurable  effect  on  schools  after 
the  war.  Students,  teachers,  workers,  civilians  return- 
ing from  service  will  know,  because  they  have  seen 
what  visual  education  means.  They  will  carry  their 
convictions  home.  Faculties,  school  boards,  community 
organizations  will  demand  that  their  schools  be  equipped, 
albeit  belatedly,  for  truly  modern  and  effective  teaching. 
The  coming-into-its-own  of  the  visual  method  should 
be  one  of  the  bright  spots  in  the  grisly  aftermath  of  war. 


The  Motion  Picture  Bureau  of  OWI 

THE  establishment  of  the  Bureau  of  Motion  Pictures 
of  the  Office  of  War  Information  in  the  summer 
of  1942  was  of  equal  importance  to  the  success  of  the 
war  eflfort.  Its  function  was  to  impart  information  to 
the  jniblic  on  the  aims  and  progress  of  our  war  program, 
to  develop  a  better  understanding  of  the  problems  to 
be  met,  and  to  mobilize  and  energize  the  hands  and 
minds  of  a  nation  at  war.  A  centralized  directorate  of 
e.xperts  was  essential — for  selecting  and  assembling 
suitable  films  from  all  sources — for  production  of  new 
films  in  areas  where  no  films  were  available — for  pre- 
paration of  supplementary  material  to  accompany  the 
films — for  arrangement  of  programs  in  final  form  for 
nation-wide  use  by  civilians  of  all  ages  and  in  all  locali- 
ties, as  well  as  by  workers  in  war  production.  The 
Bureau  acted  on  short  notice,  under  countless  handicaps, 
and  with  no  precedents  for  guidance.  Its  mistakes  are 
nothing  beside  its  successes. 

The  Bureau  of  Motion  Pictures  was  faced  by  another 
problem,  that  of  getting  adequate  distribution  for  its 
output.  Every  corner  of  the  country  must  be  brought 
within  reach  of  the  service,  and  no  distributional  sys- 
tem of  such  range  existed.  This  problem  too  was  solved 
through  national  organizations  specializing  in  distribu- 
tion of  films.  They  submerged  their  individual  policies 
and  practices  to  devote  their  facilities  to  a  common  end, 
complete  coverage  of  the  country  with  OWI  films.  It 
was  more  than  collaboration,  it  was  coalition. 

The  Educational  Screen  has  kept  its  readers 
closely  in  touch  with  the  great  work  of  the  OWI 
Bureau,  not  only  through  "Notes  and  News"  but 
through  regular  articles.  "A  Program  for  War  Film 
Use,"  in  September,  1942 — by  Paul  C.  Reed,  formerly 
Chief  of  the  Bureau  and  now  with  the  Office  of  Educa- 
tion— outlined  the  OWI  war  film  program  that  was  ju.st 
then  getting  under  way.  In  the  May,  1943,  issue  Harold 
Putnam's  article,  "The  War  against  War  Movies,"  fore- 
shadowed the  elimination  (fantastic,  unbelievable)  of 
OWT's  motion  picture  activities  and  called  upon  all 
who  believed  in  the  value  of  the  program  to  speak  their 
minds.  In  this  issue  again  Paul  Reed  summarizes  the 
splendid  results  of  the  first  year's  effort  by  the  Bureau — 
results  proved  beyond  possible  shadow  of  doubt  in 
thousands  of  classrooms,  war  plants,  assembly  halls, 
open  fields,  before  the  eager  eyes  and  minds  of  millions 
of  Americans,  young  and  old. 
But  "the  incredible"  happened! 

Congress  Cuts  Appropriation 

LAST  June  Congress  calmly  snuffed  out  the  Bureau's 
great  work  by  a  96%  cut  in  its  appropriation! 
Determination  of  such  a  question  should  be  a  matter 
of  academic  study  and  intelligent  appraisal,  not  of 
political  opinion,  impulse  or  expediency.  There  should 
ht  no  place  in  such  action  for  "Republican"  or  "Demo- 
cratic" thinking.  It  is  a  tragic  absurdity  that  an  educa- 
tional development  of  this  magnitude  should  be  decided 
on  other  than  purely  academic  grounds.  It  is  only  char- 
itable to  assume  that  Congress  did  not  know  the  facts. 
The  country  should  let  Congress  know  the  facts, 
promptly  and  emphatically. 

National  efforts  are  under  way  to  induce  Congress 

{Concluded  on  page  242) 


Page   232 


The  Educational  Screen 


Lhe  Classics  Come  to  Lift 


// 


>r^\' 


These  Will  Again  Help 
Teach  Americans... When  Victory  Comes 


FILMOARC  16MM.  SOUND 

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for  large  auditoriums. 


FILMO  MASTER  16MM. 
SILENT  PROJECTOR 

for  the  classroom. 


SLIDEMASTER  PROJECTOR 

for  sharp,  brilliant  projec- 
tion of  2"  X  2"  slides. 


FILMO  70E  CAMERA 

for  malclnA  16nim.  school 


Qpfi\onics 


im^wsiw' 


♦Trade-mark  registered 


*Optl-onlcs  is  OPTICS  .  .  .  elec- 
trONlcs  .  .  .  mechanics.  It  Is 
research  and  engineering  by 
Bell  &  Howell  In  these  three 
related  sciences  to  accomplish 
many  things  never  before  ob- 
tainable. Today  Opti-onics  is  a 
\\  EAPON.  Tomorrow,  it  will  be 
a  SERVANT  ...  to  work,  pro- 
tect, educate,   and  entertain. 


THIS  class  in  English  will  never  forget  "The  House  of  Seven 
Gables."  They've  read  Hawthorne's  tneasured  prose  .  .  .  and 
now  his  characters  come  to  life  on  the  classroom  screen! 

This  full-I»ngth  Universal  film  is  only  one  of  thousands  in  the 
Filmosound  Library . . .  only  one  example  of  how  this  great  collection 
of  film  material  can  supplement,  expand,  and  strengthen  the  impact 
of  regular  classroom  work. 

Student  clubs,  parent-teacher  groups,  special  vocational  classes, 
assembly  meetings  ...  all  are  fertile  fields  for  Filmosound  Library 
movies.  Many  teachers,  now  busy  selecting  film  material  to  be  used 
all  during  the  coming  year,  find  the  "Utilization  Digest"  a  welcome 
guide  in  making  selections.  The  coupon  below  will  bring  your  copy 
promptly.  Bell  &  Howell  Company,  Chicago;  New  York;  Hollywood; 
Washington,  D.  C;  London.  Established  1907. 

IS  YOUR  MOVIE  EQUIPMENT  READY   FOR  THE   NEW  TERM? 

Get  your  Filmosound  Projector  "freshened  up"  for  its  big  job.  Here  at 
B&H,  factory -trained  technicians  inspect,  clean,  lubricate,  repair,  and 
replace  parts  until  your  Filmosound  is  every  bit  as  efficient  and  smooth  in 
operation  as  the  day  it  was  made.  Your  B&H  dealer  can  quote  you  standard 
charges  on  the  work  your  projector  needs  .  .  .  and  he'll  help  you  pack  it 
for  safe  shipment  to  the  factory. 

OLD  PROJECTOR  LAMPS  must  accompany  your  order  for  new  ones. 
Only  on  this  basis  can  lamp  orders  be  filled. 

• 
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mailing  list  to  receive  the  new  Filmosound 
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School . 


Address . 

City 

Signed.  . 


September,   1943 


Page  233 


OWFs  16mm  Motion  Picture  Program 

July  1942  -  June  1943 


A  report  on  the  activities  and  accomplishments  oi  the 
division  the  past  year,  during  which  period  fifty 
million  people  saw  the  16mm  war  iniormation  films. 


PAUL    C.    REED 

Former  Head,  Educational  Division 

OWI  Bureau  of  Motion  Pictures 


THERE  was  a  fundamental  assumption  that  16nim 
motion  pictures  had  an  important  contribution  to 
make  to  the  Government's  war  information  pro- 
gram. The  challenge  to  the  Bureau  of  Motion  Pictures 
of  the  Ofifice  of  War  Information  was  to  use  this  me- 
dium to  the  maximum  advantage  to  aid  in  keeping  the 
American  people  fully  informed  about  the  war  and 
what  they  could  do  to  help.  What  were  the  specific 
problems  ? 

( 1 )  Twenty  thousand  or  more  16mm  sound  motion 
picture  projectors  were  available  in  schools  and  other 
institutions,  and  owned  by  commercial  operators  and 
others.  Most  frequent  use  of  this  equipment  was  in 
schools  for  instructional  and  entertainment  purposes, 
and  for  entertainment  purposes  by  roadshow  operators 
in  theaterless  communities.  One  of  the  specific  prob- 
lems faced  by  the  Division  was  that  of  encouraging  and 
promoting  wider  group  use  of  every  projector  possible 
— and  especially  adult  group  use — for  informational 
purposes.  Groups,  wherever  they  were  assembled  and 
for  whatever  purpose,  were  potential  audiences  for 
Government  war  information  motion  pictures.  The 
limited  number  of  projectors  must  be  shared  and  their 
u.se  extended,  if  potential  values  of  the  16nim  medium 
were  to  be  realized. 

(2)  Existing  16mm  film  distributing  agencies  were 
of  many  kinds  and  as  a  total  group  completely  lacking 
in  organization.  Specialization  within  the  distributional 
field  resulted  in  some  distributors  serving  only  certain 
groups  such  as  labor  groups,  or  schools,  or  churches. 


Some  distributors  limited  their  service  to  specific  areas ; 
others  covered  the  country.  Some  established  16mm 
distributors  specialized  in  feature  pictures  and  enter- 
tainment subjects ;  others  specialized  in  short  subjects. 
If  the  16mm  motion  picture  medium  was  to  make  its 
maximum  contribution  for  war  information  purposes, 
a  real  problem  existed  to  set  up  a  distributional  system 
that  would  recognize  the  diversity  of  existing  distribu- 
tional agencies  and  achieve  commonness  of  purpose  for 
the  war  emergency. 

(3)  The  third  principal  problem  of  the  Educational 
Division  was  the  selection,  clearance,  and  making  avail- 
able in  16mm  those  motion  pictures  appropriate  for 
non-theatrical  audiences  that  would  contribute  most 
to  an  understanding  of  the  war  effort  and  the  people's 
part  in  it. 

Restated,  these  then  were  the  major  problems:  1. 
To  make  available  all  16mm  projectors  for  showing 
war  information  motion  pictures  to  non-theatrical  audi- 
ences ;  2.  To  organize  an  effective  national  16mm  dis- 
tributional system ;  and  3.  To  select  and  produce  suit- 
able pictures  and  to  develop  wide  and  effective  use 
thereof. 

It  remains  to  show  how  these  problems  were  at- 
tacked and  what  was  accomplished. 

Making  Films  Available 

Sixty-two  motion  pictures  were  made  available 
through  the  Office  of  War  Information  during  the  past 
year.  These  films  had  been  produced  by  the  Office  of 
War    Information,    Department    of    Agriculture,   War 


DISTRIBUTION  OF  16mm  FILMS 


The  accompany- 
ing chart  clearly 
presents  the  func- 
tions of  the  Edu- 
cational Division, 
OWI  Bureau  of 
Motion     Pictures. 


SOURCES  OF  FILMS 


DISTRIBUTORS  OF  16mm   FILMS 


AUDIENCE 


HOILYWOOO 
COMMNliS 


UNirtD 
NATIONS 


NCW-TNUTillUL 

DIVISION 

Burtdu  of 

Motion  Pictures 

OFFICt  Of 

WAR 

INFORMATION 


OTHER 

"  DEPOSITORIES 


01 1  Id  ui  vv*R  miomiiAiioN 

Kiiir.u  it  Motion  IV"'! 


Page  234 


The  Educational  Screen 


Department,  Army  Air  Forces,  British  Ministry  of  In- 
formation, various  Hollywood  companies,  and  inde- 
pendent producers.  All  subjects  were  selected  on  the 
basis  of  what  their  contribution  would  be  in  developing 
a  better  understanding  of  the  war.  More  than  twenty- 
thousand  prints  of  these  subjects  were  released  through 
a  newly  created  distributional  system,  an  average  of 
over  300  prints  per  subject. 

Following  are  the  62  subjects  as  released  each  month:  (Al- 
ready in  release  by  OEM  before  July  1942)  Aluminum,  Buil- 
ing  a  Bomber,  Building  a  Tank,  Defense  Review  No.  3  ;  Men  and 
Ships,  Power  for  Defense,  The  New  Spirit,  Women  in  Defense 
—  (July  1942)  Bomber,  King  of  Steel,  Safeguarding  Military  In- 
formation, Tanks — (August  1942)  Democracy  in  Action,  Lake 
Carrier,  Target  for  Tonight,  Anchors  Aiveigh,  Caissons  Go 
Rolling  Alone,  Keep  'Em  Rolling — (September  1942)  Men 
and  the  Sea,  Western  Front,  Winning   Your  Wings — (October 

1942)  Home  on  the  Range,  Salvage — (November  1942)  The 
Arm  Behind  the  Army,  Listen  to  Britain,  sManpozver,  U.  S. 
News  Reviezv  No.  1 — (December  1942)  Campus  on  the  Match, 
Divide  and  Conquer,  Henry  Browne  Farmer,  The  Price  of 
Victory,  Out  of  the  Frying  Pan  into  the  Firing  Line — (Jan- 
uary 1943)  Dover,  Japanese  Relocation,  Negro  Colleges  in 
Wartime  —  (Fehrunry  1943)  Keeping  Fit,  Spirit  of  '43 
The  Thousand  Days,  U.  S.  News  Reviezv  No.  2,  Marines' 
Hymn,    World    at    War,   Point    Rationing    of    Food — (March 

1943)  Conquer  by  the  Clock,  A  Letter  from  Bataan,  Para- 
troops, U.  S.  Reviezv,  No.  3,  Coast  Guard  Song — (April 
1943)  Brazil  at  War,  Food  for  Fighters,  Szvitn  and  Live, 
Troop  Train,  U.  S.  Nezvs  Reviezv  No.  4 — (May  1943)  Jap 
Zero,  Report  from  Russia,  Wartime  Nutrition — (June  1943) 
The  Farm  Garden,  Youth  Farm  Volunteers,  Farmer  at  War, 
It's  Everybody's  War,  Mission  Accomplished,  Right  of  Way. 
Wings  Up.  (Of  the  62  subjects  there  were  13  by  OEM,  21  by 
OWI,  4  by  Departinent  of  Agriculture,  3  by  Army  Air  Forces. 

1  by  Warner  and  Army  Air  Forces,  1  by  Treasury  Department, 
by  Disney  and  Treasury  Department,  2  by  War  Department, 

2  by  U.  S.  Maritime  Commission,  3  by  British  Ministry  of  In- 
formation, 2  by  Paramount,  and  1  each  by  United  China  Relief. 
Coordinator  of  Inter-American  Affairs,  Disney,  Fox,  RKO, 
Universal,  Warner,  Screen  Cartoonists'  Guild,  and  Associated 
Screen   Studios  of  Canada. 

In  addition  to  prints  allocated  directly  to  film  dis- 
tributors by  the  Office  of  War  Information,  arrange- 
ments were  completed  for  making  thirty-six  of  the 
released  subjects  available  on  a  purchase  basis.  Castle 
Films.  Inc.,  served  as  sales  distributor  under  a  basic 
Government  contract  between  them  and  the  U.  S. 
Office  of  Education  which  provided  for  making  the 
films  available  at  two  cents  per  foot  plus  cost  of  reel. 
More  than  five  thousand  prints  were  purchased  by 
industrial  plants,  schools,  clubs,  and  film  libraries.  Not 
only  was  this  a  valuable  service  to  those  wishing  to 
purchase  prints,  but  it  added  substantially  to  the  total 
number  of  prints  being  used. 

In  its  first  year  of  operation,  the  Educational  Divi- 
sion of  the  Bureau  of  Motion  Pictures  did  succeed  in 
making  available  in  16mm  an  excellent  group  of  war 
information  films.  Subjects  were  well  balanced  among 
various  war  information  objectives.  There  were  films 
on  our  fighting  forces,  on  the  people  of  the  Allied 
countries,  on  the  nature  of  our  enemies,  and  on  the 
production,  farm  and  home  fronts.  Furthermore  prints 
•were  made  available  in  sufficient  quantity  to  serve  well 
the  needs  of  non-theatrical  motion  picture  audiences. 

Distributing  the  Films 

In  setting  up  a  distributional  system  for  16mm  war 
information  films  four  simptfe  but  extremely  important 


Army   cuts   up  old   relics   for   scrap — from  the  OW 
film  release,  "U.   S.   News   Review   No.  4" 

fundamental   principles   were  established  as   the   basis 
for  the  plan. 

1.  Films  should  be  distributed  through  established 
16mm  exchanges  and   film   libraries. 

2.  All  kinds  of  existing  16mm  film  libraries  should 
be  considered. 

3.  Distributors  should  be  selected  on  a  non-exclusive 
basis  in  reference  to  territory  and  groups  served. 

4.  Distributors  were  permitted  to  make  a  "service 
charge  to  the  user  not  to  exceed  50c  for  the  first  subject 
and  25c  for  each  additional  subject  included  in  a  single 
shipment." 

During  the  first  month  of  operation  one  hundred 
twenty-nine  distributors  were  selected  and  first  films 
shipped  to  them.  Selection  had  been  made  on  the  basis 
of  the  best  objective  information  that  could  be  obtained 
concerning  the  film  distributing  activities  of  each  of 
these  distributors.  Location,  number  of  years  in  busi- 
ness, number  of  subjects  being  distributed,  kinds  of 
groups  served,  area  served,  were  important  factors 
considered. 

By  the  end  of  the  year  there  were  one  hundred 
ninety-three  regular  distributors  and  twenty-three  hav- 
ing limited  number  of  prints  or  prints  for  a  limited 
period  on  a  trial  basis.  In  addition  a  special  film 
distributional  program  in  Texas  was  operating  through 
eighteen  outlets. 

The  records  show  that  an  effective  national  16mm 
distribution  job  was  done.  An  audience  of  more  than 
seven  million  people  per  month  was  being  reached  by 
the  end  of  the  year.  Films  were  readily  available 
through  distributors  located  in  forty-seven  states, 
Hawaii  and  Alaska.  All  kinds  of  non-theatrical  audi- 
ences were  being  reached — schools,  churches,  factories, 
community  groups  in  theaterless  communities,  farm 
groups,  youth  and  adult  groups  of  all  kinds.  Serious 
minded  Americans  all  over  the  country  seeking  infor- 
mation about  the  war  eflfort  and  their  part  in  it  were 
given  the  opportunity  of  seeing  and  studying  motion 
pictures. 


September,   1943 


Page  235 


Promoting  Best  Use  of  Films 

Those  who  were  distributing  war  information  films 
played  a  major  role  in  promoting  and  developing  the 
best  use  of  the  films  they  were  distributing.  Through 
announcements,  pamphlets,  and  bulletins,  prepared  and 
printed  at  their  own  expense,  they  saw  to  it  that  groups 
they  regularly  served  and  groups  that  had  never  before 
thought  of  using  motion  pictures  knew  of  the  war 
information  films  that  had  been  made  available.  Through 
nersonal  contacts  and  through  their  normal  channels 
for  helping  film  users  to  plan  programs  they  continu- 
ouslv  and  svstematically  widened  the  audience  for 
OW'l   films.  ' 

Supplementing  the  activities  of  the  distributors  were 
those  carried  on  by  the  Washington  office,  the  Bureau's 
two  Field  Advisors,  and  the  OWI  regional  and  branch 
officers.  OWI  Information  Officers,  in  fifty-two  re- 
gional and  branch  offices,  all  became  a  source  of  in- 


A  still  from  the  OWI  film,  "It's  Everybody's  War." 

formation  about  film  availability.  Many  took  the  initia- 
tive in  setting  up  special  community  preview  showings 
of  OWI  films  to  key  leaders  in  the  larger  cities  thus 
providing  an  opportunity  for  them  to  see  the  kinds 
of  films  available  and  to  discuss  ways  to  make  best  use 
of  these  materials. 

Originally  plans  had  been  made  for  four  regional 
Field  Advisors  directly  assigned  to  the  Educational 
Division  of  the  Bureau  of  Motion  Pictures.  Appro- 
priation limitations  permitted  the  appointment  of  only 
two.  The  activities  of  these  two  advisors,  working 
out  of  Chicago  and  Dallas.  Texas,  were  supplemented 
by  field  trips  of  tiie  Head  of  the  Division  and  other 
members  of  the  Bureau's  stafT. 

Field  activities  were  carried  on  in  thirty-four  states 
— from  Washington  to  Florida  and  from  Massachu- 
setts to  California.  Field  activities  provided  direct  con- 
tacts with  film  distributors,  and  leaders  of  organiza- 
tions and  citizen  groups  using  the  films,  resulting  in 
better  organization  and  a  more  systematic  use  of  war 


information  films  and  a  greater  understanding  of  the 
program.  It  also  provided  the  Washington  office  with 
a  direct  and  reliable  source  of  information  about  the 
effectiveness  of  the  program  and  with  criticisms  and 
constructive  suggestions  based  upon  actual  experience 
which  provided  a  guide  for  constant  improvement  of 
methods  and  procedures. 

More  specifically,  the.se  were  some  of  the  activities 
and  accomplishments  of  the  field  program : 

More  than  ISO  OWI  film  distributors  were  called  upon  one 
or  more  times  during  the  year  and  assistance  given  to  bring 
about  most  eflfective  film  distribution. 

More  than  thirty  preview  showings  of  OWI  films  for  com- 
munity leaders  were  planned  and  carried  out  in  the  larger 
cities. 

Many  calls  and  investigations  were  made  of  potential  film 
distributing  organizations.  These  resulted  in  some  cases  in  the 
appointment    of    new    distributors. 

Conferences  were  held  in  a  number  of  larger  cities  with 
OWI  distributors,  civilian  defense  leaders,  and  others  to  bring 
about  better  coordination  of  services  and  film  use.  Such  con- 
ferences were  especially  fruitful  in  Philadelphia,  New  York 
City,  Boston,  Providence,  Hartford,  Cleveland,  Chicago,  Los 
Angeles,  Birmingham,  and  Atlanta. 

Of  perhaps  greatest  significance  in  the  war  film  program 
were  the  conferences,  consultations,  and  plans  which  resulted  in 
systematic  organizations  at  the  state  level  for  systematic  state- 
wide distribution  and  use  of  war  films.  In  many  states  the 
organization  was  set  up  under  a  State  War  Film  Coordinator 
appointed  by  state  authorities.  Excellent  state  plans,  designed 
to  fit  the  particular  needs  of  the  state  involved  were  developed  in 
Texas,  Oklahoma,  Mississippi,  Tennessee,  Conneticut,  New 
York,  Indiana,  Iowa,  Oregon,  and  California. 

Also  of  help  in  developing  a  wider  and  better  use 
of  war  information  films  was  the  prompt  and  thorough 
attention  given  to  replying  to  all  correspondence  and 
inquiries  received  in  Washington.  Information  about 
films  from  all  sources  was  kept  up-to-date  and  accurate, 
and  all  requests  for  general  or  specific  information 
about  films  relating  to  the  war  efifort  were  answered 
completely.  The  qitarterly  publication  "A  List  of  U.  S. 
War  Information  Films"  filled  a  real  need  as  a  source 

{Continued  on  page  268) 


This  scene  appears  in  the  OWI  film  on  "Paratroops." 


Page   236 


The  Educational  Screen 


Film  booking  and  order  desks  in  Museum  office. 


Visual  Aids  in 
Cleveland  Schools 


An  overview  oi  the  efficient  functioning 
of  an  active  visual  aids  department  in  a 
large  city  school  system;  how  it  meets 
expanding  needs  of  the  wartime  curriculum. 


M.     R.     KLEIN 

Director  Educational  Museum 
Cleveland  Public  Schools 


"Q: 


,UR  School  needs  a  projector  for  sound 
'  films  for  a  special  patriotic  program  next 
week;  what  war  information  films  are  avail- 
able, and  can  your  department  help  us?"  "The  art 
department  has  organized  a  high  school  course  on 
camouflage ;  may  we  have  sets  of  lantern  slides  pre- 
pared for  such  work?"  "Can  your  department  furnish 
this  school  with  a  good  photograph  of  President  Roose- 
velt?" "The  physical  welfare  department  needs  slides 
and  films  on  good  posture." 

These  are  typical  of  the  requests  for  service  the 
Educational  Museum  receives  from  departments  of 
instruction  in  the  Cleveland  Public  Schools.  Are  such 
requests  granted?  By  and  large,  they  are  granted.  If 
the  demands  are  reasonable  and  within  the  scope  of 
services  delegated  to  this  department,  a  determined 
eilfort  is  made  to  comply  with  each  request.  Since  most 
calls  are  for  the  eventual  use  of  the  classroom  teacher 
and  her  pupils,  it  is  the  policy  of  the  department  to 
honor  such  requests  for  material  that  may  concretize 
and  enrich  instruction.  Because  of  the  war,  however, 
schools  have  made  allowances  for  the  difficulties  in 
obtaining  certain  supplies  and  equipment. 

Service  is  rendered  on  a  weekly  delivery  schedule 
to  the  respective  schools,  each  school  receiving  materials 
once  a  week.  Practically  all  of  the  materials  are  organ- 
ized and  correlated  with  the  courses  of  study  for  the 
elementary,  junior  and  senior  high  school  levels.  As  a 
department  financed  by  the  Board  of  Education,  it 
operates  rather  closely  with  teachers,  principals  and 
subject  supervisors  as  a  "visual  aid"  center  for  all  of 
the    158   public   schools  in   Cleveland. 

The  Museum,  comprising  about  6500  square  feet  of 
floor  space  located  in  Gladstone  School,  circulates 
generally  five  types  of  materials,  namely:  (1)  16mm 
sound  and  silent  films,  (2)  lantern  slides,  354  x  4, 
(3)  mounted  photographs  (mostly  glossy  prints  8"  x 
10"),  (4)  exhibits  in  plywood  cases,  and  (5)  various 
charts.    Based  upon  the  logical  thesis  of  "The  Pupil 


and  His  Needs,"  materials  for  visual  and  auditory  com- 
munication offer  an  atmosphere  of  realism  and  orienta- 
tion in  the  classroom,  enriching  and  supplementing 
instruction. 

A  large  percentage  of  the  work  of  the  Museum  con- 
sists in  organizing  and  preparing  for  circulation  thous- 
ands of  lantern  slides  required  to  illustrate  radio  lessons 
and  talks  originating  in  curriculum  school  centers  or 
developed  by  supervisors  of  instruction.  The  school 
radio  station  is  administered  and  staffed  separately 
from  that  of  the  Educational  Museum,  the  latter  as- 
suming the  responsibility  of  visualizing  the  radio 
presentations.  The  slides  when  ready  are  sent  to  the 
schools  on  a  long  loan  basis ;  that  is,  they  remain  in  the 
schools  throughout  the  school  year.  As  many  as  1 11 
sets,  one  for  each  elementary  school,  containing  from 
25  to  50  slides  each,  are  prepared  and  circulated  in 


^^^^^  msmu,,^-^ 


Part    of    the    film    vault. 


September,   1943 


Page  237 


this  audio-visual  aid  correlation  project.     Each  school 
receives  its  own  box  of  slides  properly  labeled. 

The  Educational  Museum  also  furnishes  each  school 
with  at  least  one  lantern  slide  projector,  a  large  ]m-o- 
])ortion  of  the  schools  with  a  projector  for  silent  films, 
.■^ets  of  short  reel  geography  films,  and  occasionally  a 
projector  for  sound  films.  Each  junior  and  senior 
high  school  has  at  least  one  16nini  sound  projector. 
Available  also  are  strip  film  projectors,  .sound-slide 
projectors,  projectors  for  opaque  objects,  lamp  bulbs, 
screens  and  microscopes.  All  films  circulated  to  the 
schools  are  of  16  millimeter  width.  Films  owned  by  the 
department  are  purchased  after  previewing.  Since  most 
educational  films  are  of  one  reel  length,  it  is  compara- 
tively easy  to  segregate  the  silent  films  from  the  sound 
by  placing  all  sound  films  in  black  metal  containers 
400  foot  size,  and  all  silent  films  in  natural  tinned 
metal  containers.  By  such  an  arrangement  it  has  been 
possible  to  reduce  damage  to  sound  films  mistakenly 
used  on  silent  film  projectors  having  double  sprocket 
wheels.  Titles  of  films  with  accession  numbers  are 
typed  on  half-inch  adhesive  tape  with  primer  typewriter. 
When  fastened  on  outside  of  metal  container  and  given 
a  coat  of  lacquer  the  label  is  not  only  easy  to  read  but 
is  long  lasting.  Also,  a  good  number  of  commercially 
sponsored  films  are  available  to  the  .schools  having  I)een 
loaned  to  the  Museum  for  a  term  extending  from  four 
months  to  two  j'ears.  Circulation  reports  are  .sent  to 
the  distributors  of  such  films  at  designated  intervals, 
complete  with  school  names,  dates  when  shown  and 
attendance.  Pimctuality  in  reporting  the  circulation  of 
commercial  films  to  the  distributors  is  appreciated  by 
them. 

The  department  is  likewise  responsible  for  the 
purchasing  and  accessioning  of  new  materials  and  for 
the  replacement  of  supplies.  Under  this  category  are 
slides,  filmstrips,  ])ictures  for  mounting,  and  various 
charts  and  exhibits  which  circulate. 

Demonstrations  are  given  by  staff  members  to  school 
faculties  upon  request,  where  new  films  may  be  viewed, 
slides  shown,  or  help  offered  and  suggestions  made 
toward  better  utilization  of  visual  materials.  Our 
staff  is  called  upon  to  present  materials  at  department 
meetings  for  science  teachers,  mathematics  teachers, 
vocational  guidance  groups,  Parent-Teacher  meetings, 
and  others.  The  staff'  personnel  consists  of  a  director, 
teacher  assistant,  office  secretary  and  accessions  clerk. 
Mm  booking  clerk,  slide  and  exhibit  booking  clerk, 
order  and  filing  clerks,  film  inspectors,  mechanical 
handyman,  delivery  truck  driver  and  helper. 

There  has  been  a  gratifying  response  in  the  secon- 
dary schools  to  the  showing  of  the  excellent  U.  S. 
Office  of  War  Information  films  by  the  Bureau  of 
Motion  Pictures  and,  more  recently,  films  received 
from  the  Coordinator  of  Inter-American  Affairs. 

Another  of  the  services  of  the  Educational  Museum 
is  the  issuance  of  various  catalogues  for  the  schools; 
included  are  Classified  Listing  of  Titles  for  Sound 
and  Silent  Films,  Descriptive  Catalogue  of  Sound  and 
Silent  Films,  Lantern  Slide  Listings,  and  Mounted 
Pictures  and  Charts.  Also  listings  of  films  for  various 
departments  such  as  vocational  guidance,  social  studies 
and  science  are  available.    It  has  proved  worth  while 


(Top)  Lantern  slides  from  A  to  Z. 

(Center)   Assembling  lantern  slides  for  radio  lessons. 

(Bottom)   Plywood  exhibits  and  other  materials. 


Page  23  8 


The  Educational  Screen 


5LR.V1NG  THL  CLLVLLAND    PU&LIC    5CHOOL5 


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WOR-li    WITH  TE.ACHE.R.S.  PR.INCIPALS,SUPE.R.VI50R.5-CUR.WCULUM  aNTE.R.5 


AUDIO-  VI5UAL 
COMMUNICATION 


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CLA5SI100M    TLACHEFLS    OR.DLII  AND  USL  MATLR.ML 

LNPwlCMED  INSTR.UCTION 


Chart   showing   the   organization  and   services   of   the    Educational   Museum. 


to  issue  separate  listings  for  specific  subject  matter,  so 
that  teachers  save  time  in  ordering  films  for  their  re- 
spective area  of  instruction. 

One  page  in  the  classified  listing  of  films  contains 
Suggested  Techniques  in  Utilizing  Classroom  Films. 
So  that  more  teachers  may  know  of  such  techniques, 
they  are  reprinted  below : 

1.  The  teacher  should  preview  the  film  prior  to  show- 
ing it  to  her  class.  Like  studying  a  new  textbook 
before  use  with  classes,  it  is  a  distinct  advantage  for 
a  teacher  to  preview  films. 

2.  The  teacher  should  prepare  pupils  for  seeing  the 
films  by  giving  a  very  brief  discussion  or  explana- 
tion. Lengthy  introductions  detract  from  the  in- 
terest of  the  pupils. 

3.  It  is  best  to  show  films  where  classes  meet  daily, 
or  in  a  room  especially  set  up  for  film  projection. 

4.  Preparation  of  the  room  and  having  equipment  in 
place  for  film  showing  should  be  accomplished  with 
minimum  delay  and  disturbance. 

5.  Films  shown  for  the  first  time  to  a  class  should 
be   run   through  without   interruption. 

6.  Subsequent  showings  may  be  interrupted  for  asking 
questions. 

7.  Attitudes  of  study  may  be  developed  by  pupils  by 
having  them  concentrate  on  the  major  idea  of  the 
film,  ask  questions,  remember  facts,  discover  prob- 
lems, and  gain  information. 

8.  The  film  may  suggest  the  use  of  other  visual  aids 
supplementing  the  lesson  such  as  maps,  still  pictures, 

.graphs,  lantern  slides,  books  and  magazines. 

9.  The  teacher  should  list  questions  for  discussion  as 
a  follow-up,  along  with  the  vocabulary  of  the  film 
which  may  need  clarifying. 


10.  Pupils  may  gain  ideas  from  the  film  for  follow- 
up  work,  such  as  making  posters,  developing  charts 
and  cartoons,  and  writing  themes  or  verses. 

11.  The  teacher  may  require  a  written  report  on  the 
film. 

As  far  as  possible  films  have  been  chosen  and  recom- 
mended for  classes  that  fall  within  the  vocabulary 
and  study  levels  of  the     respective  groups. 

Several  recent  visual  aid  projects  may  be  mentioned. 
An  extensive  series  of  slides  has  been  prepared  in 
cooperation  with  the  music  department  and  Sever- 
ance Hall,l  home  of  the  Cleveland  Orchestra.  Miss 
Lillian  Baldwin,  supervisor  of  music  appreciation, 
assisted  in  this  work  by  writing  an  interesting  script 
to  accompany  the  slides.  Another  recent  project, 
sponsored  by  the  industrial  arts  department,  is  a  series 
of  slides  being  prepared  for  aircraft  identification  and 
drawing.  The  high  schools,  in  addition,  are  receiving 
an  interesting  and  timely  set  of  slides  on  "camouflage" 
sponsored  by  the  art  department.  A  new  third  grade 
social  studies  set  of  slides  is  in  preparation  to  be  used 
with  radio  lessons,  and  a  set  of  fourth  grade  slides, 
mostly  in  colors,  has  recently  been  sent  to  elementary 
schools. 

Another  addition  has  been  a  number  of  government- 
sponsored  films,  for  the  science  and  mathematics  de- 
partments of  the  high  schools,  which  may  book  these 
for  showing  in  correlation  with  preflight  courses  in 
these  teaching  areas.  Other  school  departments  are 
preparing  material  for  organization  into  slide  sets, 
photographs  and  motion  pictures  for  use  next  semester. 

Increased  demands  for  all  types  of  new  visual 
media  have  been  made  by  schools  especially  since  our 
entry  into  the  present  world  wide  war.  More  teachers 
are  using  slides  and  films  than  ever  before,  but  insist 
more  and  more  upon  modern  and  up-to-date  aids. 


September,   1943 


Page  239 


Split -Second  Seeing 


"r: 


EADY  XOW!"  Flash!  The  shadow 
of  an  airplane  flickers  for  an  instant  on  a 
'  screen.  F'ifty  or  sixty  Pre-Flight  Naval 
cadets  are  sitting  in  a  semi-darkened  classroom,  watch- 
ing the  screen  but  ever  ready  to  write  briefly  their 
reactions  to  these  split-second  observations.  They 
are  learning  to  recognize  planes  and  ships  of  friend 
or  foe. 

An  instructor  stands  before  the  screen.  On  the  table 
at  his  side  are  a  box  of  slides  and  a  projector.  Again 
the  instructor  speaks  slowly  and  distinctly  the  two 
magic  words  which  precede  the  flash.  The  unbelievalile 
time  of  one  fiftieth  or  one  seventy-fifth  of  a  second 
is  all  that  may  be  allowed  for  the  cadets  to  recognize 
battleship,  destroyer,  sulnnarine,  aircraft  or  carrier. 
"Ready.  Now !"  Flash !  Another  silhouette  is  projected 
on  the  screen,  the  decision  is  made  and  the  cadets  re- 
spond in  chorus  with  the  name  and  nationality  of  the 
object  shown. 

To  so  recognize  an  aircraft  carrier  or  submarine 
is  fairly  simple,  but  destroyers  and  battleships  require 
finer  lines  of  demarcation.  A  Lockheed  P-38  is  easy 
to  identify  as  an  American  fighter  airplane  with  thin 
twin  streamlined  booms  and  high  twin  rudders.  But 
to  choose  instantaneously  between  a  "Mosquito"  and  a 
"Vengeance"  requires  both  training  and  experience. 
Pursuit   planes  have  deceptive    contours,   and    no  be- 


A  stimulating  story  of  Recognition  Courses 
in  Navy  Training  where  "visual  methods"  are 
absolutely   necessary  for   effective   teaching. 

SAMUEL    R.     ELLIS 

Naval  Pre-Flight  School 

Ohio  Wesleyan  University,  Delaware,  Ohio 

ginning  "Dodo"  would  attempt  to  guarantee  his  choice 
between  an  American  Boeing  Flying  Fortress  and  a 
German  Focke-W'ulf  Kurrier. 

Sooner  or  later  the  "scuttle-butt"  rumur  floats 
around  campus  and  "ship"  dormitory  to  the  eltect 
tliat  certain  subjects  in  the  Flight  Training  .School  are 
"pipe"  courses,  or  that  some  instructors  require  too 
many  outside-of-class  problems,  but  of  the  Recog- 
nition Course  no  such  complaint  is  heard.  Day  after 
day,  six  days  a  week  for  twelve  weeks  the  cadets  as- 
semble in  the  Recognition  rooms  where  special  eejuip- 
ment  is  provided.  Not  only  on  the  bulletin  boards  but  all 
over  the  walls  are  numerous  pictures  of  aircraft.  To 
facilitate  learning,  the  titles  are  deleted.  Thus  the  in- 
structor hopes  to  arouse  interest,  but  keeps  control  of 
the  situation.  He  wants  the  cadets  to  achieve  recog- 
nition in  the  prescribed  way. 

The  equipment  used  for  this  training  course  is  not 
too  technical.  A  large  .screen,  tilted  slightly  forward, 
is  mounted  on  a  special  portable  frame.  A  standard 
stereopticon  projector  using  3^"  x  4"  slides  is  mounted 
with  clamps  on  the  nearby  instructor's  table.  The  new 
and  essential  feature  is  the  timing  device,  so  arranged 


U.  S.  Navy  Photo 

A  U.  S.  Navy  aircraft  recognition  class  studies  salient  points  of  Grumman  "Wildcat." 


Courtesy  Flying  Magazine 

Models  are  for  detailed  study. 


Page  240 


The  Educational  Screen 


that  a  quick  adjustment  will  flash  the  picture  on  the 
screen  for  exactly  FlOth,  l/25th,  l/50th,  l/75th  or 
KlOOth  of  a  second.  The  human  eye  will  register  on 
those  showings  when  the  learner  really  is  alert.  No 
loafers,  tea  hounds,  nor  lounge  lizards  are  to  be  found 
among  the  eager  Naval  cadets.  Any  good  grade  of  green 
window  shades  will  prove  adequate  for  darkening  the 
classroom.  Complete  blackout  is  not  desired,  for  the 
human  eye  tends  to  dilate  the  pupil  in  extreme  dark- 
ness. This  would  handicap  somewhat  the  quick  per- 
ception which  is  required  in  Navy  Recognition. 

Whenever  the  roll  is  called  of  good  motivation  in 
teaching  by  Visual  Education  or  any  pedagogical  pro- 
cedure, the  Naval  Pre-Flight  Training  Program  in 
Recognition  will  hold  high  rank  on  such  a  list.  Never 
was  a  functional  program  more  quickly  evolved  than 
this  unique  training  schedule.  The  whole  technique 
has  been  in  line  with  the  speeded-up  program  of  the 
Navy.  It  took  careful  planning  and  good  organi- 
zation to  put  it  into  effect. 

Dr.  Samuel  Renshaw,  professor  of  Experimental 
Psychology  at  Ohio  State  University,  deserves  credit 
for  inaugurating  and  developing  the  scheme,  and  now 
devotes  considerable  time  to  supervising  the  work  of 
training  officers  for  basic  Recognition  courses.  Not 
only  U.  S.  Navy  officers,  but  representatives  from  the 
U.  S.  Army,  the  British  Navy,  the  Royal  Canadian 
Air  Force  and  from  the  fighting  French  are  at  Ohio 
State  University. 

Lt.  Cmdr.  W.  W.  Agnew,  who  is  in  charge  of  Rec- 
ognition training  for  the  Navy,  presents  an  adequate 
explanation  of  the  system  in  the  following  statement : 
"Visual  perception  of  the  whole  coupled  with  the  ability 

Courtesy  Flying  Magazine 


Courtesy  Flying  Magazine 


Lockheed  "Constellation"  (Cargo  and  Transport) 

What  To  Look  For:  This  low-wing  monoplane  has  mod- 
erate dihedral  and  leading  and  trailing  edge  taper,  with 
pointed  tips.  The  engines  are  underslung  below  the  wing 
and  the  main  wheels  of  the  tricycle  gear  retract  fully  into 
the  inboard  engine  nacelles.  In  the  side  view,  the  fuselage 
has  a  slightly  humped  back.  The  tail  assembly  includes  the 
well-known  Lockheed  twin  rudders  and  a  third  stabilizing 
fin  between  them. 


Boeing  "314"  (Transoceanic  Flying  Boat) 

What  To  Look  For:  The  high  cantilever  wing  has  moderate 
dihedral,  equal  taper  and  pointed  tips.  The  four  radial 
engines  are  directly  on  the  wing's  center  line.  The  large 
flying  boat  hull  is  two  stories  high,  the  crew  occupying  the 
second  floor.  Large  hydrostabilizers  are  fitted  to  the  hull  at 
the  water  line,  directly  under  the  wing.  The  tail  unit  has 
two  rudders  and  a  large  vertical  stablizer  between  them,  giv- 
ing the  appearance  of  being  three  rudders. 

to  see  and  reproduce  visual  forms  responds  to  training. 
By  forcing  learners  to  see  quickly,  they  see  coherently. 
A  proof-reader  may  not  be  able  to  tell  what  is  on  a 
page  just  checked  but  he  has  spotted  the  individual 
mistakes.  He  is  trained  to  do  it.  A  good  stenographer 
may  not  be  able  to  repeat  the  identical  words  which 
have  been  dictated  to  her  because  she  has  been  trained 
to  comprehend  the  whole  import  of  the  letter.  So  it 
is  with  the  Navy  system.  We  train  men  to  see  the 
thing  in  its  totality." 

Three  objectives  are  paramoimt  in  the  Recognition 
Training  Program ;  namely,  to  teach  officer-instructors 
the  theoretical  background  of  the  system ;  to  train 
them  to  recognize  and  identify  planes  and  ships  quickly 
and  accurately ;  and  to  train  the  men  how  to  teach 
what  they  have  learned.  These  objectives  are  achieved 
in  a  minimum  of  time  and  with  a  maximum  of  re- 
sults. 

Cadets  in  turn  are  taught  fundamental  principles 
and  essential  details  of  this  Recognition  system.  It  is 
not  sufficient  that  the  fledgling  pilots  study  carefully 
some  eight  or  nine  photographs  and  half  a  dozen  sil- 
houettes of  a  Jap  Zero  at  various  angles,  not  suffi- 
cient to  recognize  each  plane  just  well  enough  to  pick 
it  out  from  others  in  a  group.  These  Naval  pilots 
may  face  the  Zero  in  a  dog-fight.  In  an  actual  en- 
counter with  an  enemy  plane  they  need  to  know  many 
details  of  its  performance.  Therefore,  the  training  pro- 
gram provides  information  involving  type  of  engines, 
symbols,  wing  span,  length,  height,  maximum  speed, 
cruising  speed  at  certain  altitudes,  service  ceiling, 
loaded  and  empty  weights,  and  armament.  This 
knowledge  is  vital. 

The  cadets  are  so  eager  to  learn  that  they  fairly 
bristle  with  enthusiasm.  They  lean  forward  in  their 
chairs,   they   focus   their   attention   so   steadfastly   on 


September,   194} 


Page  241 


the  screen  preceding  each  flash  that  in  a  large  class- 
room you  can  actually  hear  a  pin  drop.  They  write 
their  reactions  on  prepared  charts  of  paper.  Not  only 
do  they  compete  against  other  platoons  and  against  each 
other,  but  also  they  compete  against  their  own  record 
of  the  day  before. 

Admitted,  at  fir.st,  that  they  need  warming-up  ex- 
ercises. The  digits  three,  four,  five,  six  and  seven 
are  flashed  on  the  screen  as  practice  exercises.  "Coun- 
ters," or  groups  of  objects,  are  utilized  for  functional 
training  in  keenness  of  observation.  The  results  ob- 
tained are  no  less  than  amazing.  This  is  teaching  at  its 
best. 

As  amateurs  their  guesses  are  none  too  good.  But 
soon  their  estimates  become  accurate  judgments,  for 
they  have  learned  to  extend  their  vision  and  to  per- 
ceive in  totality.    In  the  preface  to  one  of  Josepli  Con- 


rad's novels  he  states  a  basic  principle  of  Visual  Edu- 
cation to  the  eff'ect  that  in  learning  we  have  the  written 
word  to  make  us  hear  and  feel,  but  to  fix  an  idea  in 
the  mind  permanently,  we  need,  before  all,  to  see  it. 
So  it  is  with  the  cadets  in  this  unique  program. 

Occasionally  humor  is  injected  into  the  otherwise 
too  tense  a  classroom.  Accidentally  or  otherwise  the  in- 
structor may  show  a  slide  upside  down.  The  student 
reaction  is  as  violent  as  mental  kick-back  could  be. 
Or  the  officer  may  announce,  "Watch  out  for  a  fogged- 
out  craft."  When  it  appears,  the  picture  is  indeed 
cloudy,  and  the  cadets  register  their  frank  disapproval. 
Another  time  the  instructor  sounds  off  with  the  provo- 
cative phrase,  "Here  comes  a  donation  of  the  first  or 
second  order!"  Likely  it  is  a  well  known  American 
plane.  But  day  in  and  day  out  the  cue  for  efficient 
recognition  is,  "Ready.  Now!"  Flash. 


Motion  Pictures  a  Stimulant  to  Reading  Interest 


ABOUT  a  year  ago  nineteen  organizations  and 
several  individuals  in  Winchester,  Massachusetts, 
contributed  money  for  the  purchase  of  a  Bell  and 
Howell  sound  motion  picture  projector  for  the  Win- 
chester Public  Library.  This  project  originated  with 
the  librarian  who  had  long  felt  that  moving  pictures  had 
great  potentialities  for  stimulating  interest  in  reading. 

Last  October,  weekly  educational  moving  picture 
programs  known  as  "Family  Night  At  The  Public 
Library"  were  inaugurated.  The  evening  programs 
were  planned  to  interest  older  boys  and  girls  and 
their  parents  but  soon  became  of  general  community 
interest  regardless  of  ages.  It  was  noticed  that  as  the 
series  progressed  the  number  of  adults  in  the  audience 
increased.  Stimulating  reading  interests  was  of  first 
consideration  in  planning  the  programs.  Dr.  Abraham 
Krasker,  Director  of  the  Department  of  Visual  Aids 
at  Boston  University,  was  of  great  assistance  in  plan- 
ning the  programs  and  most  of  the  films  used  have 
come  from  his  department  under  a  rental  plan. 

Varied  programs  are  used  and  usually  include  several 
subjects.  Many  of  the  films  from  the  Office  of  War 
Information  have  been  shown  and  tied  in  well  with 
current  books  on  war  subjects  and  with  pamphlet 
material  from  the  Office  of  War  Information.  Films 
from  the  Coordinator  of  Inter-American  Affairs  have 
been  used  successfully  and  certainly  have  stimulated 
interest  in  our  neighbors  to  the  south  and  encouraged 
the  reading  of  books  about  them.  History,  science, 
natural  history  and  social  studies  films  have  been  used. 
Films  depicting  the  growth  of  our  country  were  popular 
and  good  books  in  abundance  were  displayed  for  "fol- 
low-ups." 

Saturday  morning  moving  pictures  for  younger 
boys  and  girls  are  a  part  of  these  weekly  educational 
programs.  Many  of  the  pictures  used  the  previous 
night  for  the  "Family  Night"  programs  are  repeated 


A  shining  example  for  all  libraries  not 
yet  using  motion  pictures,  to  amplify  and 
enrich   their   service   to   the   community. 

CORINNE    MEAD 

Librarian  Winchester  Public  Library 
Winchester,  Massachusetts 


for  the  children.  It  has  been  found  that  keen  interest 
in  most  of  the  pictures  is  as  evident  with  the  Saturday 
morning  groups  as  with  the  older  ones  of  the  night 
before. 

Book  displays  on  the  subjects  of  the  moving  pic- 
tures are  set  out  in  both  the  adult  and  boys'  and  girls' 
departments.  A  typical  film  program  might  include: 
Episodes  in  the  Life  of  Thomas  Edison,  Pioneers  of 
the  Plains,  Winning  Your  Wings  and  Venezuela.  It  is 
easy  to  visualize  the  many  books  that  were  displayed 
at  the  time  these  pictures  were  shown.  They  included 
biographies  of  Edison,  interesting  books  on  inventions 
and  related  subjects.  Pioneers  of  the  Plains  introduced 
books  on  the  West  and  its  development.  Winning  Your 
Wings  invited  readers  to  the  many  books  on  aviation, 
Air  Corps  training,  biographies  of  famous  aviators  and 
famous  flights  as  well  as  current  accounts  of  air  activi- 
ties of  the  present  war.  Books  on  Venezuela  and  other 
South  American  countries  went  along  with  the  jjicture. 
Spanish  language  books  were  in  the  group. 

Films  of  special  interest  to  the  younger  group  were 
Passenger  Train,  New  England  Fishermen,  Adventures 
of  Bunny  Rabbit,  An  Airplane  Trip  and,  of  course,  the 
pictures  of  Army,  Navy  and  Marine  training.  Mexico 
Builds  a  Democracy,  Americans  All  and  the  South 
American  films  in  color  were  much  enjoyed  and  were 
good  ones  to  encourage  reading. 

Between  films,  there  is  informal  discussion  and 
some  comments  about  the  books  on  display.  There  are 
always  responses  after  the  programs.  The  extent  to 
which  the  audiences  linger  over  the  books  is  one 
measure  of  the  success  of  these  educational  film  pro- 


Page  242 


The  Educational  Screen 


grams  which  are  designed  to  win  more  readers  for  the 
wealth  of  books  the  hbrary  has  to  offer. 

Some  five  thousand  more  books  were  issued  from 
the  children's  department  on  the  Saturdays  this  winter 
when  there  were  moving  pictures  than  on  the  corres- 
ponding Saturdays  last  year  without  them.  The  child- 
ren's librarian  reports  sustained  reading  interests  in  the 
subjects  of  the  films  shown  and  a  substantial  increase 
in  the  dem.and  for  non-fiction. 

The  moving  pictures  are  shown  in  the  art  gallery  of 
the  librar}'  that  encourages  the  use  of  books  and  is 
are  drawn  into  the  gallery  to  see  the  films  and  at  the 
same  time  are  introduced  to  exhibitions  of  good  paint- 
ings and  other  arts.  It  all  adds  up  to  a  broader  use  of 
the  library  that  encourages  the  use  if  books  and  is 
proving  to  be  an  additional  stimulant  to  more  and  better 
reading. 


Education  and  Legislation 

(Concluded  from  page  231) 

to  reconsider.  In  July  the  "War  Film  Committee"  was 
organized  expressly  to  bring  these  facts  to  congressional 
attention.  The  Committee  is  composed  of  representa- 
tives from  eight  organizations — four  academic  and 
educational,  four  commercial  and  professional  (names 
of  these  associations  are  listed  on  this  page.)  The  Com- 
mittee is  at  work  to  marshall  the  public  and  professional 
opinion  of  the  entire  country  and  turn  its  full  power 
toward  Washington.  If  every  American  citizen  really 
interested  in  the  welfare  of  his  country  and  world  civi- 
lization would  write  now  to  his  Senators  and  Repre- 
sentatives at  Washington,  urging  full  restoration  and 
expansion  of  the  Bureau  of  Motion  Pictures  of  the 
Office  of  War  Information,  he  would  be  helping  might- 
ily toward  winning  not  only  the  war  but  a  long,  long 
post-war  peace  and  permanent  progress  for  education. 

A  New  and  Greater  OWI 

WAR  is  ephemeral.  It  has  its  day — albeit  mad, 
ghastly,  and  more  costly  than  decades  of  peace. 
Years  of  peace  and  productivity  are  required  for  a 
year  of  war  and  destruction.  An  Office  of  Information 
is  invaluable  during  the  brief  span  of  war,  but  could  be 
still  more  so  during  the  long  span  of  peace.  There 
should  be  no  break  in  the  continuity.  With  war's  end — 
and  it  may  be  nearer  even  than  the  chronic  optimists 
imagine — the  Office  of  War  Information  should  become 
the   Office   of  World   Information. 

If  the  wisdom  of  the  race  is  adequate  to  the  achieve- 
ment of  a  post-war  "United  Nations,"  the  new  "Office 
of  World  Information"  can  be  priceless  to  the  cause  of 
civilization.  It  would  be  a  community  service  for  the 
shrunken  world,  under  a  centralized  directorate,  with 
representation  from  all  the  nations,  located  as  well  at 
Washington  as  anywhere.  Official  appointees  abroad, 
writers  and  cameramen,  would  maintain  the  flow  of 
facts  and  films  to  Washington  for  re-issue  by  radio  and 
motion  picture  around  the  world.  If  there  is  to  be  any 
concerted  search  for  world  adjustment  and  permanent 
peace  it  may  require  years  to  determine  the  final  form- 
ula. A  vast  amount  of  "education"  will  be  needed 
before  the  thoughts  and  attitudes  of  all  the  nations  can 
be  brought  to  harmony  and  decision.  The  right  motion 
pictures,  in  adequate  supply,  would  be  the  master  means 
for  bringing  the  nations  to  think,  feel,  and  act  together. 
It  will  be  done  some  day.   It  could  be  started  now. 

N.  L.  G. 


16mm  War  Film  Committee  Organized 

Representatives  of  eight  national  associations  met 
during  the  Midwestern  Visual  Education  Forum  in 
Chicago,  July  23-24,  to  discuss  the  support  of  the 
16mm  war  film  program.  The  following  groups  were 
represented :  Educational  Film  Library  Association, 
Department  of  Visual  Instruction  of  the  N.  E.  A., 
Audio  Visual  Aids  Committee  of  the  American  Lib- 
rary Association,  National  University  Extension  As- 
sociation. Allied  Non-Theatrical  Film  Association, 
National  Association  of  Visual  Education  Dealers, 
National  War  Committee  for  the  Visual  Education 
Industry,  and  Visual  Equipment  Manufacturers'  As- 
sociation. 

These  eight  organizations  formed  a  16mm  War  Film 
Committee,  composed  of  the  presidents  (or  their  desig- 
nated appointees)  of  the  respective  associations,  and 
pledged  their  resources  and  facilities  to  Congress  and 
OWI  to  attain  maximum  eflfective  use  of  16mm  war 
films  on  the  home  front  and  to  take  necessary  steps 
to  achieve  that  end. 

The  representatives  on  the  committee  agreed  that 
one  responsibility  of  OWI  is  to  supply  the  necessary 
number  of  prints  of  IGmm  factual  or  educational 
films,  of  a  non-partisan  nature,  available  from  federal 
agencies,  United  Nations,  semi-official  or  private 
sources,  for  use  by  the  above  groups.  Such  films  on 
absenteeism,  industrial  safety,  wartime  nutrition,  food, 
women  in  war,  wartime  child  care,  war  bonds,  salvage, 
rationing,  manpower,  conservation,  combat  reports, 
and  other  vital  war  problems  are  essentials  of  the 
nation's  emergency  information  program. 

It  was  also  unanimoush'  agreed  that  two  conditions 
are  necessary  to  reach  this  objective : 

1.  The  personnel  for  administering  such  a  service 
must  be  trained  and  experienced  in  16mm  distri- 
bution and  utihzation. 

2.  To  be  truly  democratic  and  thoroughly  effective, 
this  emergency  16mm  War  Film  Service  of  OWI 
must  include  a  16mm  Advisory  and  Policy  Com- 
mittee, similar  to  the  Newspaper  Advisory  Com- 
mittee established  by  Palmer  Hoyt,  Director  of 
OWT's  Domestic  Branch. 

This  Advisory  and  Policy  Committee  should  in- 
clude representatives  of  16mm  associations  and  should 
work  closely  for  the  duration  with  the  designated  heads 
of  the  OWI  16mm  Film  Service  in  establishing  basic 
policy,  in  determining  types  and  quality  of  films  to  be 
distributed,  and  in  developing  utilization  procedures. 

Each  one  of  the  affiliated  national  associations  ac- 
cepted certain  jobs,  to  avoid  overlapping.  Responsibility 
for  contacting  other  national  organizations  interested 
in  war  films  was  assigned  to  different  members  of  the 
Committee. 


David  J.  Goodman.  Executive  Director.  Foley  and 
Edmunds,  has  been  appointed  Educational  Specialist  of 
the  Training  Aids  Division  of  the  Army  Air  Forces, 
New  York  City,  under  supervision  of  Dr.  Howard  A. 
Gray. 


September,   194} 


Page  243 


MOTION  PICTURES- 
NOT  FOR  THEATRES 

By    ARTHUP     EDWIN    KROWS 


Part  49. — Our  non-theatrical  history  begins 
its  fifth  year  of  serialization  with  more 
about  advertising  pictures  and  the  allegedly 
exclusive   right   of   theatres   to   show  films. 


IT  HAS  been  one  of  the  many  inci- 
dental merits  of  Wythe's  plan  that  he 
would  have  experts  to  assist  in  finding 
the  interesting  facts  about  advertised 
products.  The  advantage  may  be  illus- 
trated by  an  incident.  Through  Albert 
Krippendorf,  the  interest  of  the  Proctor 
&  Gamble  Company,  whose  headquar- 
ters were  situated  in  his  home  city  of 
Cincinnati,  had  been  directed  to  our 
enterprise.  One  of  the  organization 
heads  visited  us  during  his  next  stay 
in  New  York,  and  made  an  exhaustive 
examination  of  what  we  possessed.  "1 
am  satisfied  that  you  can  do  all  that 
you  say,"  he  admitted  at  last  "Now, 
what  sort  of  picture  would  you  recom- 
mend for  us?"  We  replied  that  to 
answer  him  properly  we  would  have  to 
know  something  about  his  organiza- 
tion and  methods,  so  he  bade  us  to 
ask  him  some  questions,  then— just  to 
give  a  general  idea  of  our  probable 
approach.  "Well,"  we  ventured,  "of 
course  we  are  familiar  with  the  slogan 
'ninety-nine  and  forty-four  one-hund- 
redths  per  cent  pure.'  Just  what  does 
your  Company  mean  by  that?" 

He  looked  at  us  sharply  as  though 
he  thought  we  were  joking,  but  ex- 
plained that  it  meant  a  marketable 
soap  which  was  just  about  as  pure  as 
human  knowledge  could  make  it.  We 
had  the  temerity  to  go  on:  "We  gather 
that  much,  but  what  are  the  standards 
of  purity?  What  is  purity  in  soap 
particularly  which  isn't  also  purity  in 
bread,  for  instance?"  His  expression 
changed.  He  stammered  a  moment 
and  then  burst  into  a  laugh.  "Funny," 
he  said.  "I  know  that  there  must  be 
standards,  all  right,  but  I've  just  for- 
gotten them.  I'll  tell  you  what  I'll  do. 
We  have  a  research  division,  and  the 
experts  there  will  know  all  about  it. 
I'll  send  you  the  explanation  as  soon 
as  I  get  back." 

But  here  Wythe  interrupted,  saying; 
"No  need  to.  You  see,  we  knew  you 
were  coming  and  we  wanted  to  be  in- 
formed about  your  product.  So  we 
asked  our  own  expert.  And  she  told 
us  about  not  only  the  nature  but  the 
purpose  of  soap.  The  action  of  soap  is 
not  chemical — -it  does  not  dissolve  the 
dirt — but  mechanical.  It  pries  the  par- 
ticles loose  ,so  that  the  water  may  rinse 
them  away.  On  that  account  the 
picture  we  would  recommend  for  you 
would  tell  people  who  have  been  taking 
'ninety-nine  and  forty-four  one-hun- 
dredths  per  cent  pure'  for  granted 
about  the  important  underlying  fact. 
We  would  explain  that  good  soap 
needs  no  chemicals.  We  would  show 
them  the  action  by  micro-photography. 


We  think  that  they'd  be  as  interested 
as  we  are  now."  The  figurative  earth- 
quake in  our  affairs  happened  soon 
after  that,  but  we  were  flattered  to 
notice  in  due  course  of  time  that  the 
Proctor  &  Gamble  magazine  adver- 
tising showed  microscopically  the 
action  of  an  effective  soap  which 
needed   no  chemical   reagents. 

But  the  real  point  which  I  wished 
to  remark  here  concerned  our  staff  of 
experts.  There  were  to  have  been  a 
number  of  these  in  time,  especially  in 
different  lines.  The  first,  and  the  con- 
sultant who  bad  quickly  provided  that 
soap  explanation,  was  Miss  Sarah 
Field  Splint,  former  editor  of  Today's 
Houseivife,  and   then  conducting  an  ex- 


The  "Companion's"  treatment  of 
home  problems  benefited  from  the 
unfailing  good  taste  and  excellent 
business  counsel  of  Sarah  Field  Splint 

perimental  kitchen  for  testing  the  poten- 
tialities of  food  products  for  advertisers. 
In  recent  years  this  accomplished,  busy 
lady  has  been  one  of  the  editors  of  Mc- 
Calt's.  She  now  is  on  the  staff  of  The 
Woman's  Home  Companion.  The  Screen 
Companion  never  had  a  better  friend 
nor  one  more  devoted  in  service.  She 
it  was  who  supervised  the  laying  of  the 
silver  and,  indeed  the  preparation  of  the 
meal  which  Carlyle  Ellis  otherwise  di- 
rected, in  "Setting  a  Formal  Luncheon 
Table  for  Six."  She  and  Ellis  had  been 
editors  together  on  the  old  Delineator. 

She  it  was.  also,  who,  when  we  felt 
that  we  needed  a  feminine  point  of  view 
in  many  of  our  scenarios,  sent  me  Miss 
Norma  Kastl  who  was  on  the  way  to 
becoming  a  brilliant  scenarist  in  adver- 
tising  subjects  when  the  collapse   came. 


I  had  just  taken  on,  too,  Louis  Raymond 
Reid,  who,  in  later  years  became  well 
know-n  as  radio  editor  of  the  New  York 
American.  About  Reid  I  was  especially 
disturbed.  I  had  brought  him  to  the 
Companion  from  the  theatrical  pub- 
licity ofiices  of  the  Shuberts,  on  Broad- 
way. When  the  first  rumors  of  our 
trouble  came,  he  told  me  that  he  had 
an  offer  to  go  with  Metro-Goldwyn 
Pictures,  but  would  prefer  to  stay  with 
us.  I  advised  him  to  remain  and  he 
declined  the  offer.  A  week  later  and 
we  crashed.  Fortunately  Reid  was 
able  still  to  join  Metro-Goldwyn,  but 
I  fear  that  he  has  never  forgiven  me 
for  the  narrow  escape  I  gave  him  with 
honest  intention. 

The  Down  Grade 

The  catastrophe,  to  which  I  have 
referred  now  too  many  times  to  delay 
the  explanation  longer,  resulted  from 
the  sudden  financial  reverses  of  Albert 
Krippendorf.  He  had  underwritten  some 
mining  securities  and  was  suddenly  called 
upon  to  put  up  a  staggeringly  large  sum 
of  money.  Unable  to  shift  other  invest- 
ments at  the  moment,  he  turned  to  his 
bankers.  But  those  same  bankers,  at- 
tributing his  troubles  to  his  dabbling 
in  pictures — notably  to  his  financing 
of  the  Holley  Holy  Land  series — told 
him  sternly  that  they  would  not  stand 
by  him  unless  he  foreswore  the  films. 
We  felt  that  the  Screen  Companion 
plan,  which  had  been  in  operation  then 
only  a  few  months,  had  even  in  that 
short  time  begun  to  prove  itself,  and 
it  seemed  really  not  too  much  to  ask 
help  in  establishing  just  the  first  cir- 
cuit. Out  of  that  the  other  circuits 
might  grow.  But  the  bankers  were 
adamant.  Krippendorf,  game  and 
sympathetic  though  he  was,  had  no 
choice  but  to  withdraw.  And  the 
Screen  Companion,  the  "magazine  on 
the  screen,"  was  thus  left  high  and  dry. 

Wythe  was  determined,  as  usual,  not 
to  give  up.  He  invited  every  employee 
— about  twenty  of  us,  I  suppose — to 
dine  with  him  at  a  little  Greek  restau- 
rant in  the  neighborhood.  When  the 
meal  was  at  an  end,  he  broke  the  un- 
happy news  to  us.  But  he  reminded 
us  that  his  plan  had  been  devised  to 
go  on  and  expand  with  its  own  mo- 
mentum, and  that  possibly  we  were  so 
close  to  what  the  original  impulse  had 
been  expected  to  accomplish  that  just 
a  little  more  concerted  effort  might 
carry  us  through.  He  could  not  pay 
anybody  salary  beyond  the  end  of  the 
current  week.  However,  when  money 
came  in  from  any  source,  it  would  be 
divided  among  those  who  stood  with 


Page  244 


The  Educational  Screen 


him.  If  the  effort  succeeded,  the 
proper  earnings  would  be  made  up.  The 
personnel,  with  only  one  exception,  I 
believe,  voted  to  stick,  from  the  tele- 
phone operator  up.  And  stick  most  of 
them  did,  without  salaries,  for  approxi- 
mately one  year.  The  non-theatrical 
field  has  no  finer  story  of  faith  than 
this. 

Wythe,  heartened  in  the  midst  of 
his  setback,  characteristically  surveyed 
the  ground  to  make  the  absolute  most 
of  what  remained.  This  philosophical 
habit  of  his  always  made  me  think  of 
the  cheerful  attitude  of  the  clergyman 
head  of  the  Swiss  Family  Robinson, 
when  he,  his  wife  and  four  sons  were 
shipwrecked.  Wythe  went  to  the  land- 
lords of  the  Masonic  Temple  Building 
and  told  his  story.  Whereupon  another 
miracle  happened.  For  that  same 
period  of  one  year  they  gambled  the 
suite  of  offices  rent-free.  There  was 
a  telephone  switchboard,  with  a  num- 
ber of  extensions.  The  New  York  Tele- 
phone Company,  hearing  the  circum- 
stances, gambled  the  phones.  A  situa- 
tion possibly  unparalleled  in  American 
business.  The  only  day-to-day  hope 
of  income  was  to  give  shows.  Harry 
Swartz,  Larry  Fowler,  Jack  DeMarr 
and  Herbert  Stephen  took  their  turns 
at  that  work.  Ward  Wooldridge,  his 
wife  and  his  boy  undertook  the  same 
labor  with  the  machines  and  programs 
we  had.  Wythe  and  I,  in  the  mean- 
time, worked  long  and  late  to  build 
fresh  programs  out  of  the  films  we  had 
in  the  vaults  maintained  by  Walter 
Yorke.  Bill  Briggs  visited  the  adver- 
tising agencies  on  the  possible  chance 
that  they  might  somehow  help.  Eustace 
Adams  had  at  length  been  obliged  to 
leave  us,  not  until  he  also  had  tried 
again. 

Wythe  scribbled  columns  of  figures 
on  every  envelope  in  his  pocket,  every 
clear  scrap  of  paper  in  mine  and  on 
every  luncheon  tablecloth,  working  out 
new  ways  to  finance  the  project.  He 
determined  that  with  only  $50,000  we 
might  make  a  go  of  it.  That  was  en- 
couraging. We  were  sure  that  we 
could  raise  that  nominal  sum.  A  few 
millionaires  were  stirred  up  here  and 
there,  but  they  pooh-poohed  the 
thought  that  anything  requiring  less 
than  five  times  that  amount  could 
be  worthy  of  their  attention.  We  sought 
interviews  then  with  men  of  comfort- 
able but  less  ample  means.  Most  of 
these,  however,  were  fearful  of  any- 
thing so  speculative  as  motion  pictures, 
and  the  others  dilly-dallied  with  the 
idea  until  it  was  too  late. 

When  the  original  programs  had 
played  the  metropolitan  area  so  far 
as  they  might,  there  were  no  others  to 
replace  them.  Equipment  depreciated 
with  use  and  we  could  not  afford  ma- 
jor repairs.  But  we  all  obtained  first- 
hand experience  with  non-theatricals 
which  we  would  neither  trade  for  much 
money  today  nor  wish  to  repeat  be- 
cause the  Screen  Companion,  for  very 
honest  reasons  and  with  no  denial  of 
the  essential  merits  of  its  plan,  went 
into  such   marked  decline  that  it  was 


folly  to  continue.  We  moved  out  of 
our  office  suite  and,  for  a  temporary 
refuge  when  the  second-hand-furniture 
man  came  for  the  desks,  downstairs 
to  where  Walter  Yorke  and  his  Edited 
Pictures  System  went  steadily,  de- 
pendably on.  Walter  made  us  wel- 
come and  gave  us  repeated  practical 
evidences  of  his  sympathy. 

But  even  yet  Wythe  did  not  give 
up.  There  was  Herman  De  Vry.  The 
De  Vry  Company,  which  had  per- 
mitted us  to  have  a  number  of  its 
standard  projectors  "on  consignment" 
and  therefore  had  that  much  equity 
in  the  project,  agreed  to  wipe  out  the 
obligation  and  assume  whatever  else 
was  owing  on  film  rights  if  they  could 
have  the  remaining  materials  for  use 
in  promoting  their  own  sales.  This 
was  at  least  a  kind  of  settlement,  and 
it  was  accepted.  Wythe,  himself,  went 
along  to  make  the  most  of  it.  There 
wasn't  room  for  anybody  else.  It  was 
"every  man  for  himself"  then. 

So,  about  1925,  in  the  De  Vry  New 
York  office  on  West  42nd  Street  there 
arose  on  the  ashes  of  the  Screen  Com- 
panion a  modest  phoenix  called  the 
Neighborhood  Motion  Picture  Service. 
With  that  unassuming  rebirth,  Fred 
Wythe — single-handed,  doing  all  the 
creative  work  himself — built  eighteen 
exhibition  circuits  extending  as  far 
west  as  Harrisburg,  Pennsylvania, 
and  as  far  north  as  Binghamton,  New 
York.  He  had  three  advertisers,  in- 
cluding that  blessed  standby,  Mueller's 
Macaroni.  Hope  springing  perhaps 
more  eternally  in  his  breast  than  in 
the  bosoms  of  some  others,  he  present- 
ly began  to  see  renewed  opportunities 
for  the  resurrection  of  the  larger  idea. 
He  was  so  sure  of  it,  that  he  tried  to 
corner  the  non-theatrical  rights  to  the 
more  important  stocks  of  film.  He 
took  options  and  made  heavy  commit- 
ments to  theatrical  exchanges  for  their 
used  reels. 

But,  after  about  a  year,  the  great 
improvement  in  16mm  film  stock  made 
3Smm  equipment  and  theatrical  prints 
useless  for  this  purpose.  He  wriggled 
free  from  the  now  burdensome  con- 
tracts, but  how  he  did  it  is  a  compli- 
cated story  which  he  must  tell  him- 
self. It  is  sufficient  to  say  that  he 
eventually  came  through  intact  and 
personally  still  owning  the  idea  of  the 
Screen  Companion. 

If  you  will  think  carefully  about 
all  this,  you  will  see  that  it  was  and  is 
an  idea  worth  clinging  to.  It  was  dis- 
tinct from  the  theatres;  it  provided  an 
outlet  for  exhausted  theatrical  material 
and  circulation  for  industrials;  it  stim- 
ulated the  market  for  equipment;  it 
made  school  subjects  available  without 
strain;  it  supported  non-theatrical  ex- 
changes and  projection  services;  it 
provided  well-balanced  programs  for 
the  "entertainment  fringe;"  it  made 
available  needed  funds  for  non-theat- 
rical production;  it  established  a  con- 
tinuing, steady  market.  Where  is  there 
another  plan  which  can  do  so  much? 

And   now   a   little  postscript   to   es- 


tablish the  whereabouts,  a  dozen  years 
later,  of  some  of  the  pioneer  band  not 
otherwise  accounted  for.  Ward  Wool- 
dridge, in  failing  health,  went  west- 
ward to  Arizona  and  died.  A  fine  fel- 
low. The  world  was  decidedly  better 
for  having  had  him.  Herbert  Stephen 
joined  Carlyle  Ellis  and  me  for  awhile 
in  non-theatrical  production,  then 
founded  and  long  conducted  the  "Ad- 
vertiser" column  of  the  New  York 
Evening  Post.  After  that  he  formed 
his  present  connection  as  a  staff 
writer  for  Printer's  Ink.  Bill  Briggs 
became  an  account  executive  with  the 
New  York  advertising  agency  Buchan- 
an &  Company  and,  years  later,  with 
Weiss  &  Geller,  Inc.  Eustace  Adams 
developed  into  a  voluminous  short  story 
writer  and  has  attained  the  Saturday 
Evening  Post  level.  Miss  Kastl  be- 
came a  successful  writer  on  fashions. 
Larry  Fowler  is  on  the  New  Rochelle 
police  force,  not  far  from  New  York 
City,  and  Harry  Swartz,  when  last  I 
saw  him,  was  a  picture  projectionist 
at  the  Waldorf-Astoria  Hotel.  And 
Jack  De  Marr?  Well,  I  have  lost 
track  of  Jack;  but  I  do  know  that  for 
a  long  time  he  was  first  assistant  to 
the  amiable  Major  Arthur  Procter,  long 
executive  head  of  the  Boy  Scout  Fed- 
eration of  Greater  New  York. 

Complaints 

Motion  Picture  exhibitors  have  long 
looked  askance  at  activities  in  the  non- 
theatrical  field,  and  this  should,  of  course, 
be  quite  understandable.  Showing  pic- 
tures for  admission  prices  is  the  thea- 
trical manager's  livelihood;  it  is  not  that 
of  the  churchman  or  school  teacher.  He 
has  much  money  invested  in  his  theatre 
building;  he  has  been  to  serious  trouble 
and  expense  to  conform  with  various 
laws  and  regulations  which  demand 
especial  construction — surrounding  alleys, 
lobbies,  aisles,  exits,  projection  booths, 
storage  cabinets,  ventilators  and  many 
other  architectural  necessities.  He  has 
taken  out  expensive  licenses  and  pays  ex- 
traordinary taxes  imposed  on  his  par- 
ticular kind  of  business — all  for  the 
privilege  of  carrying  it  on.  Naturally 
he  resents  competition  by  untaxed  organi- 
zations which  have  not  been  obliged  to 
meet  the  structural  demands,  to  pay  for 
similar  licenses  and,  in  general,  to  assume 
responsibilities  such  as  his. 

It  stirs  his  indignation  to  see  a  large 
part  of  his  heretofore  regular  audience 
going  off,  on  what  ought  to  be  his  most 
profitable  evening  of  the  week,  into  a 
tumbledown,  firetrap  church  across  the 
street  merely  that  the  minister  or  priest 
may  keep  the  young  persons  of  the  parish 
under  his  eye.  He  resents  the  free  show 
which  draws  the  crowd  at  the  automo- 
bile salesroom.  He  is  openly  disturbed 
by  the  ten-cent  movie  at  the  school  audi- 
torium by  means  of  which  the  students 
expect  to  buy  new  uniforms  for  the 
hockey  team.  And,  even  when  the  minis- 
ter counters  (as  he  frequently  does)  by 
charging  that  the  theatre  decimated  his 
congregation  first,  the  exhibitor  seems  to 
have   the  weight  of  argument   with   him 


September,   1943 


Page  245 


when  he  retorts  that  he  presents  the 
better  show. 

There  are  many  other  answers  by 
the  clergy,  schoolmen,  parent-teacher  as- 
sociations and  remaining  non-theatrical 
groups,  the  most  usual  being  that  the 
exhibitor  is  not  sufficiently  particular 
about  the  influence  of  his  pictures  on  the 
young.  There  are  other  charges  by  the 
exhibitor,  too,  their  tenor  being  that  his 
attackers  are  really  trying  to  appropriate 
his  business.  But  the  truth  seems  to  be 
that,  in  all  the  heavy,  endless  charges 
and  recriminations  on  both  sides,  there 
are  seriously  vulnerable  arguments ;  and 
no  protestation  yet  has  been  so  free  of 
personalities  and  pccular  local  considera- 
tions that  it  might  be  set  up  as  a  defini- 
tion of  justice  for  all  parties.  So,  all  that 
can  matter  in  this  connection  to  this 
history  is  the  observation  that  some  ex- 
hibitors try  to  get  along  amicably  in 
their  respective  communities,  and  others 
arc  constantly  warring  for  their  rights ; 
that  certain  non-theatrical  leaders  are 
forever  brandishing  swords  and  breathing 
fire  in  the  presumed  cause  of  righteous- 
ness, and  others  are  patient  and  eager 
not  to  trespass  on  the  feelings  or  perquis- 
ites of  others.  In  other  words,  that  in 
human  nature  there  are  kindly,  tolerant 
persons  and  also  extremists  of  more 
violent  temper.  As  to  the  specific  nature 
of  the  clash,  this  struggle  is  es.sentially 
a  process  of  adjustment  to  new  times  and 
new  manners.  It  is  a  mere  passing  de- 
tail among  the  countless  incidental  con- 
flicts visible  on  the  broader  screen  of 
these   rapidly  changing  times. 

In  the  mid-nineteen-twenties  the  op- 
position of  theatrical  and  non-theatrical 
exhibitors  became  exceptionally  teiise. 
It  might  have  resulted  in  some  painful 
open  warfare  had  the  modern  talking 
picture  not  intervened.  That  world- 
shaking  innovation  postponed  serious 
hostilities  for  nearly  a  decade.  But,  by 
1935,  the  militant  leaders  had  donned 
their  armor  again  and  were  once  more 
wrathfully  descending  from  their  heights 
to   compel   decisions. 

Protests  filled  the  air.  A.  H.  Shaffer, 
owner  of  the  Strand  Theatre,  of  Kansas 
City,  charged  that  the  showing  of  films 
every  Sunday  at  the  Community  Church 
by  the  Rev.  Burris  Jenkins — Dr.  Jenkins, 
by  the  way,  had  long  been  known  as  an 
active  friend  of  the  motion  picture  in- 
dustry— was  damaging  his  business,  and 
sought  an  injunction  against  Fox  Films 
for  supplying  the  programs  there.  Ex- 
hibitors in  Des  Moines  complained 
against  showings  of  Russian  motion 
pictures  at  the  local  First  Unitarian 
Church.  Fred  Wehrenberg  represented, 
on  behalf  of  the  theatre  managers  of  St. 
Louis,  and  while  addressing  the  com- 
mission in  charge  of  the  Municipal  Audi- 
torium, that  the  commission  had  been 
unfair  in  permitting  the  Community 
School  Foundation  to  present  their  "com- 
petitive showings  of  Flaherty's  "Man 
of  Aran."  The  Motion  Picture  Exhibi- 
tors and  Distributors  of  Canada  met  to 
consider  the  annoyance  caused  by  ."ome 
two  hundred  "hobo"  projectionists  who 
were  wandering  over  the  Dominion 
giving  shows  with  their  portable  equip- 
ment.   Regular  theatre  men  in  Wisconsin 


Ed  Kuykendall's  unceasing  war  on 
non-theatrical  competition  began 
when  he  was  a  traveling  carnival 
entertainer,  battling  small  town 
counter-attractions    for    his    bread. 


and  Michigan  protested  movies  in  the 
Civilian  Conservation  Camps  because 
others  than  the  C.C.C.  workers  were  ad- 
mitted, and  there  was  begun  against 
them  in  turn,  a  conspiracy-and-damages 
action  by  Minnie  Tulverman's  Royal 
Talking  Pictures  Service  which  supplied 
some  of  the  shows. 

One  of  the  prolific  sources  of  trouble 
was  the  insistence  of  the  non-theatrical 
showman  that  he  should  be  permitted  to 
rent  current  pictures  not  in  actual  use  by 
theaters  at  the  time  of  his  application 
A  1935  case  of  this  sort  involved  the 
organization  of  a  Motion  Picture  Coun- 
cil in  Oklahoma  City  to  investigate 
charges  that  local  exchanges  would  not 
procure  desired  films.  The  main  in- 
tent was  to  run  to  earth  a  persistent 
rumor  that  the  Publix  Theatres  had  a 
contract  with  certain  distributors  designed 
to  shut  out  schools,  churches  and  inde- 
pendent theatres. 

In  Salt  Lake  City  an  especially  diffi- 
cult adjustment  was  temporarily  made. 
For  a  long  period,  twenty-two  Ward 
Houses  of  the  Latter  Day  Saints  Church 
had  been  showing  films  on  a  subscription 
basis  whereby  admission  to  five  weekly 
shows  was  given  to  families  of  any  size 
for  one  dollar  per  family.  Protests  of 
the  local  exhibitors  were  of  no  avail 
until  the  Government's  National  Re- 
covery Act  came  into  force  in  Ji:ne. 
Shortly  thereafter  two  managers,  backed 
by  the  International  Theatres  Associa- 
tion, complained  to  their  industry's  Code 
Authority,  which  decided  that  the 
churches  should  not  exhibit  pictures  until 
six  months' after  their  professional  release 
in   that    territory. 

The  N.R..A.  code  for  the  film  industry 
was  drafted  in  the  summer  and  autumn 
of  1933.  Article  VIII,  Section  8, 
Part  4,  stated  that:  '-It  shall  be  unfair 
practice  for  any  distributor  to  license 
the  exhibition  of  its  motion  pictures  for 
exhibition  in  any  non-theatrical  account 
contrary  to  any  determination,  restriction 
or  limitation  by  a  local  grievance  board 


where  such  exhibition  shall  be  deter- 
mined by  such  grievance  board  provided 
for  in  this  code  to  be  unfair  to  an  estab- 
lished motion  picture  theatre."  However, 
Part  4,  in  Subdivision  b,  continued  in  a 
manner  which  seemed  decidedly  con- 
tradictory :  "Nothing  in  this  part  shall 
be  interpreted  to  prohibit  the  licensing  of 
motion  pictures  for  exhibition  at  army 
posts  or  camps,  or  on  board  ships  of  the 
United  States  Navy,  or  ships  engaged  in 
carrying  passengers  to  foreign  or  do- 
mestic ports,  or  at  educational  or  re- 
ligious institutions,  or  at  institutions 
housing  'shut-ins,'  such  as  prisons,  hos- 
pitals, orphanages,  etc."  I  am  not  aware 
of  what  happened  in  the  Salt  Lake  City 
situation  after  May  27,  1935  when  the 
Supreme  Court  invalidated  the  N.R.A., 
but,  if  the  behavior  of  other  industries  at 
the  same  time  offer  any  indication,  there 
was  a  prompt  backslip  into  abhorred 
practices. 

The  storm  of  protests  continued  into 
1936.  In  May,  Philadelphia  exhibitors, 
who  claimed  dependence  on  patronage  of 
downtown  shoppers,  declared  a  grievance 
against  Gimbel's  Department  Store,  which 
was  screening  old-time  films  in  a  free 
one-hour  show  four  times  daily.  These 
presentations  were  actually  in  continua- 
tion of  a  plan  of  department  store  release 
which  had  been  worked  out  to  exploit 
the  New  York  stock  film  library  as- 
sembled years  previous  by  Isaac  Stone 
and  since  then  managed  by  his  widow 
and  daughter,  Dorothy.  The  plan  had 
begun  operation  in  February  at  the 
James  McCreery  &  Company  store  in 
New  York  City. 

One  finds  the  extreme  exhibitor  at- 
titude in  the  manager  who  holds  that 
there  is  no  saturation  point  in  the  volume 
of  business  which  may  be  brought  into 
his  theatre.  He  thinks  of  his  establish- 
ment as  the  only  logical  and  proper 
community  recreation  center,  and  of  any 
competitive  attraction,  of  any  sort  what- 
soever, as  an  invader  of  his  rights.  In 
the  truly  diehard  case  the  exhibitor  op- 
poses the  garden  club's  seasonal  flower 
show,  the  afternoon  monthly  lecture  at 
the  woman's  club,  the  community  sing. 
In  this  stand  he  is  .surely  wrong.  Using 
the  same  argument  the  stage  could  claim 
a  right  prior  to  his. 

The  legitimate  principle  of  being  a 
hustler  in  business  is  to  preserve  the  free 
choice  of  the  customers,  and  to  lead  them 
to  bestow  their  trade  on  a  basis  of 
superior  values,  meaning  also,  superior 
service.  If  there  is  business  to  be  had 
beyond  that,  it  is  certainly  not  fair 
practice  to  disturb  healthful  customer 
relationships  maintained  by  respectable 
competitors ;  it  should  accrue,  rather, 
through  the  cultivation  of  neglected  op- 
portunities. 

The  reference  to  warring  exhibitors 
and  fire-breathing  non-theatrical  leaders 
has  been  made  with  specific  persons  in 
mind.  On  the  exhibitors'  side  in  1935, 
was,  for  instance.  Edward  Kuykendall, 
president  of  the  Motion  Picture  Theatre 
Owners  of  .\merica.  He  made  a  speech 
at  a  New  Orleans  convention  of  that 
organization  in  February,  1935,  staling 
that  the  trouble  was  partly  the  exhib- 
itor's fault  for  not  sufficiently  encourag- 


Page   246 


The  Educational  Screen 


iiig  the  interest  and  good  will  of  Rotary, 
Kiwanis,  Exchange,  Lions  and  Women's 
Clubs,  the  American  Legion,  school 
authorities  and  Parent-Teacher  Associa- 
tions. He  believed  that  the  situation 
might  be  improved  by  holding  back  the 
release  of  theatrical  ^  films  to  non-thea- 
trical groups  for  a  long  period.  "We 
must  use  discretion  in  attacking  these 
non-theatricals,"  he  said,  "but  we  must 
be  relentless  on  the  cheaters,  including 
religious  institutions  who  attack  us  aij  an 
industry,  yet  attempt  to  rent  and  run  our 
films  for  profit  to  themselves."  And,  in 
September  of  the  same  year,  in  a  more 
outspoken  statement  concerning  the 
alleged  threat  of  non-theatricals  to  the 
business  of  film  exhibition,  he  proposed 
a  boycott  of  equipment  manufacturers 
who  supply  reproducers  for  non-thea- 
trical   "competitors." 

As  Kuykendall's  organization  lost  a 
point  of  gain  through  the  collapse  of  the 
N.R.A.,  it  is  a  form  of  compensation 
that  the  champion  to  be  named  on  the 
other  side  was  unhorsed  by  the  defeat 
of  a  Government  bill  which  would  have 
made  possible  a  realization  of  her  own 
high  hopes.  She  was  Mrs.  A.  Raymond 
Klock,  motion  picture  chairman  of  the 
District  of  Columbia  Congress  of  Par- 
ents and  Teachers,  Washington,  D.  C. 
The  time  was  the  spring  of  1935,  and 
in  the  House  of  Representatives  Samuel 
B.  Pettengill,  of  Indiana,  had  intro- 
duced a  measure  designed  to  end  sup- 
posedly wicked  motion  picture  trade 
practices  known  as  block  booking  and 
blind  selling.  Among  its  provisions 
was  the  removal  of  restrictions  upon 
types  of    rental. 

Terry  Ramsaye,  editor  of  the  Motion 
Picture  Herald,  wished  to  learn  the 
reasons  for  the  ardent  support  of  the 
bill  by  the  National  Congress  of  Parents 
aiid  Teachers,  and  telegraphed  his 
question  to  Mrs.  Klock.  Her  prompt 
reply  was  that  its  passage  "would  be 
an  opening  for  a  broader  program  which 
would  put  churches,  schools  and  civic 
organizations  on  a  basis  with  motion 
picture  theatres,  giving  them  equal  op- 
portunity to  rent  and  exhibit  the  better 
class  of  photoplay."  She  added,  among 
other  irritations  to  the  theatre  managers 
generally,  that,  "much  splendid  welfare 
work  can  be  financed  in  every  com- 
munity from  the  proceeds  of  motion 
picture  exhibitions  in  church,  school  and 
civic  auditoriums." 

Early  in  1936  General  Motors  Cor- 
poration sent  forth  a  "caravan"  educa- 
tional exhibit  on  automobile  trucks  to 
supplement  its  general  sales  promotion 
campaign.  Together  with  lectures  and 
numerous  interesting  mechanical  gad- 
gets it  had  some  motion  pictures.  Many 
theatrical  exhibitors  along  the  intended 
route  set  up  an  outcry  based  on  the  alle- 
gation that  it  would  cut  into  their  box- 
oflfice  receipts.  Astonished  by  the  un- 
expected protests,  Paul  Willard  Garrett, 
director  of  public  relations  for  General 
Motors  at  the  headquarters  office  in  New 
York,  asked  various  film  industry  leaders 
to   see  the  show  for  themselves   and  to 


determine  its  non-competitive  character. 
Terry  Ramsaye  was  one  of  those  who 
responded.  The  following  week  he  pre- 
sented his  opinion  as  an  editorial  in  the 
Motion  Picture  Herald.  He  scouted  the 
idea  of  a  menace,  and  asked  the  thous- 
ands of  exhibitors  served  by  his  ad- 
mirable paper,  if  they  wished  to  raise 
the  point  of  competition  by  outside  in- 
dustries, what  about  the  competition  they 
were  encouraging  themselves  when  they 
gave  so  much  publicity  on  their  own 
screens   to   baseball,   for   instance?   With 


In  Terry  Ramsaye's  comprehensive 
motion  picture  experience  he  seems 
never  to  have  found  the  slightest 
justification  for  either  theatri- 
cal    or     non-theatrical    intolerance. 


particular  relevance  to  the  present  page, 
he  continued : 

The  day  lias  long  since  passed  when 
the  motion  picture  theatre  can  reasonably 
expect  to  have  exclusive  use  of  the 
medium  of  the  films.  The  theatre  is  con- 
cerned with  the  films  as  a  medium  of 
entertainment,  and  it  can  demand  that  its 
function  of  entertainment  shall  be  proper- 
ly protected.  But  the  motion  picture  is 
just  a  medium  of  expression,  a  way  of 
saying  things,  and  if  others  with  some- 
thing to  say  desire  to  use  it  nothin-g 
can  prevent  extension  of  its  use.  The 
theatre  can  no  more  expect  a  monopoly 
of  the  use  of  camera  and  projector  than 
the  newspaper  might  in  an  earlier  day 
have  demanded  a  monoply  on  the  linotype 
and   the   rotary   press. 


The  Narrow  View 

The  advent  of  a  really  satisfactory 
16mm  film  gave  rise  to  the  impression 
among  exhibitors  that  theatrical  and  non- 
theatrical  fields  might  be  kept  divided 
and  under  control  on  a  gauge  basis. 
The  thought  was  that,  if  non-theatrical 
centers  were  to  have  only  16mm  pro- 
jection equipment,  they  could  not  use 
the  theatrical  subjects  until  the  theatri- 
cal exchanges  were  ready  to  permit  their 
reduction  to  narrow  width  film.  This 
view  of  the  case,  spreading  among  pro- 
fessional exhibitors,  caused  a  consider- 
able abatement  of  their  fighting  spirit. 
Here  was  the  solution,  they  seemed  to 
feel,  and  it  was  necessary  only  to  wait 
for  its  natural  developments. 


But,  in  their  sense  of  new  security, 
and  possibily  to  hurry  the  anticipated 
cure-all,  there  was  an  immediate  move- 
ment to  increase  the  reduction  of  used 
theatrical  subjects  to  16mni  film.  Keep 
non-theatrical  centers  fed  and  they  would 
not  complain  of  being  hungry.  Sympto- 
matic of  what  was  going  on  was  the 
rise  of  a  concern  called  International 
16mm  Pictures,  Inc.,  formed  during  the 
summer  of  1931,  with  New  York  offices 
in  the  Film  Center  Building,  630  Ninth 
Avenue,  Rudolph  Mayer  was  president. 
The  announced  aim  was  to  open  a  chain 
of  16mm  exchanges  over  the  nation  for 
the  distribution  of  narrow  width  reels 
on  a  plan  of  sharing  profits  with  16mm 
producers.  By  October  three  exchanges 
had  been  made  definite — respectively  in 
New  York,  Boston  and  Philadelphia. 
Associated  with  Mayer  in  the  develop- 
ment were  the  Sparks- Withington  Com- 
pany, of  Jackson,  Michigan :  the  Spra.eue 
Specialities  Company,  of  North  Adams, 
Massachusetts ;  and  the  International 
Projector  Company,  of  New  York,  all 
manufacturers  of  16mm  projection  de- 
vices. 

The  year  of  the  general  blossoming  of 
the  16mm  idea,  as  a  compromise  solution 
of  the  exhibitor-non-theatrical-competitor 
probletn,  was  notably  1935.  There  came 
into  existence  about  then  even  a  "16mm 
Board  of  Trade."  A.  D.  Storey,  a  former 
member  of  the  Universal  Pictures  pub- 
licity department,  was  its  executive  secre- 
tary. In  fact,  there  were  many  interest- 
ing 16mm  enterprises,  and  they  filled 
the  horizon  so  completely  that  commen- 
tators generally  forgot  about  the  Old 
Master  in  the  narrow-width  film  situa- 
tion, Willard  B.  Cook.  However,  for  his 
part,  he  just  went  on  in  his  accustoiried 
serenity  and  "sawed  wood"  while  new- 
comers became  excited  over  the  vision 
that  he  had  seen  so  long  before,  and 
from  which  he  himself  had  done  so  much 
to  tear  the  veil. 

About  June,  1936,  the  year  in  which 
nineteen  nations  represented  at  Buda- 
pest approved  the  16mm  recommenda- 
tions of  the  American  Standards  As- 
sociation, Julius  Singer,  who  had  been 
an  exchangeman  with  Carl  Laemmle  for 
some  thirty  years  and  had  himself 
supervised  the  establishment  of  various 
important  independent  exchanges  during 
the  early  Patents  wars,  moved  out  of 
the  Universal  Exchange  headquarters  in 
New  York  to  found  a  16mm  business  of 
his  own.  He  called  it  the  Social  Motion 
Picture  Corporation  of  New  York  City. 
Despite  Singer's  background  of  ex- 
perience and  current  enthusiasm,  he 
met  with  disappointment.  He  hung  on 
for  a  while  and  then  went  definitely  out 
of  all  motion  picture  business  in  October, 
1942,  when  he  dropped  dead  in  a  midtown 
theatre — quite  consistently  watching  a 
movie.  A  pathetic  note  was  his  personal 
ad  in  the  Motion  Picture  Daily,  Febru- 
ary 15,  1939,  reciting  his  misadventures 
in  the  16mni  field  and  asking  for  a 
job. 

(To  be  conf/nued) 


September,   194} 


Page  247 


The  Film  and  International  Understanding 


Animated  Understanding 

THIS  Department  has  on  more  than  one  occas- 
ion called  attention  to  the  potentialities  of  the 
animated  fihn  in  the  field  of  international  under- 
standing, as  well  as  in  education  in  general.  From  the 
information  discussed  .  below,  it  now  appears  that' 
these  potentialities,  like  the  cartoons  themselves,  are 
becoming  animated  with  the  life  and  action  of  activity 
and  reality. 

Walt  Disney's  Message    In  a  recent  message  to  his 

employees  who  are  in  the 
services  Mr.  Disney  said: 

"Working,  as  we  never  w-orked  before,  on  films  for 
the  army  and  navy,  we  are  thinking  of  the  time  when 
you  are  coming  back.  Animation  is  proving,  with  war 
films,  that  it  can  help  with  major  problems.  The  les- 
sons learned,  you  will  apply  constructively  in  solving 
the  problems  of  peace." 

"Making  films  for  the  development  of  better  under- 
I  standing  between  North  and  South  America,  we  look 
forward  to  similar  work  on  a  world-wide  scale.  New 
and  better  types  of  educational  motion  pictures  must 
give  cohesion  to  this  torn  earth.  Light  for  China  and 
India  must  reach  their  millions  through  the  projection 
machine.  Science,  Economics  and  Industry  must  be 
given  a  voice  which  all  can  understand.  With  these 
and  a  thousand  other  problems,  the  motion  picture 
can  be  more  helpful  than  any  other  force. 

"This  is  the  work  to  which  you  will  return  with  the 
ending  of  war.  It  is  an  important  part  of  the  work 
to  be  done,  a  good  thought  to  hold.  Using  the  ways 
and  means  which  the  art  of  animation  is  acquiring 
through  films  for  war,  you  will  make  constructive  edu- 
cational films  for  peace." 

Animation's  Expanding  Scope    That    the    world-wide 

plans  referred  to  above 
are  not  idle  dreams  is  indicated  by  the  increasing 
variety  of  training  films  and  other  films  in  which 
Disney's  technique  is  being  used.  His  work  for  the 
Coordinator  of  Inter- American  Affairs  is  hemisphere- 
wide  in  scope.  Subjects  for  the  encouragement  of 
hemispheric  cooperation  include  health,  agriculture 
and  industry,  as  well  as  culture  and  folklore,  music 
and  romance. 

Conferring  recently  at  the  studio  were  Dr.  Enrique 
S.  de  Lozada,  special  advisor,  and  Kenneth  Holland, 
director  of  the  department  of  education  at  the  Co- 
ordinator's office ;  Dr.  Hernane  Tavares  de  Sa,  of  the 
University  of  Sao  Paulo,  Brazil;  Jorge  Delano,  San- 
tiago, Chile;  and  Jackson  Leighter,  from  the  Co- 
ordinator's Hollywood  office. 

Professor  Clemente  Olvera  y  Soto,  one  of  Mexico's 
foremost  authorities  on  agriculture,  visited  the  studio 
and  discussed  educational  films. 

Jack  Cutting  and  Bill  Cottrell,  of  Disney's  Foreign 
Relations  Department,  were  touring  Ceneral  America 


Edited  by  DR.  JOHN  E.  DUGAN 

Haddon  Heights,  New  Jersey,  Schools 


to  request  advice  and  gather  information  concerning 
educational  films.  Preliminary  work  for  a  forthcom- 
ing picture  about  Cuba  has  been  under  way. 

Animated  Film  Seminar    Plans    have    been    discussed 

for  a  seminar  to  be  held  at 
the  studio.  Here  educators  from  the  Americas  might 
meet  to  discuss  educational  film  subjects  and  to  further 
the  understanding  of  health  and  education  problems 
common   to   the  Americas. 

Educational  Animation  Fundamental  to  all  our  dis- 
cussion, however,  is  the  film 
itself.  How  is  an  animated  educational  film  made? 
How  does  an  idea  take  on  action  and  come  to  life? 
Is  any  special  procedure  followed?  Bob  Carr  of  the 
Disney  staff  has  this  to  say: 

"Here  at  the  Walt  Disiiey  Studio,  now  the  largest 
single  producer  of  educational  films  in  the  world,  we 
first  make  a  careful  analysis  of  the  exact  educational 
situation  in  which  the  proposed  film  is  to  be  ex- 
hibited. Is  it  for  classroom  use,  theatre  release,  or 
exhibition  under  private  auspices?  Exactly  who  will 
comprise  the  audience?  What  are  their  ages,  their  at- 
titude toward  the  instruction  offered?  What  do  they 
really  know  about  the  subject? 

"From  this  foundation,  Walt  Disney's  story  crews 
shape  their  material  specifically  for  the  intended 
audience,  building  in  as  much  or  as  little  entertainment 
value  as  will  be  required  to  put  that  specific  subject 
across  to  a  definite  audience.  A  film  for  Naval  cadets, 
eager  for  battle  and  knowing  that  victory  depends 
upon  how  well  they  learn  their  lessons,  is  found  to 
require  very  little  garnishment,  for  the  film  is  shown 
in  an  ideal  educational  situation  in  which  the  students 
are  in  a  high  state  of  receptivity  and  concentration. 
But  how  different  is  the  problem  of  selling  sanitation 
to  a  half-wild  Indian,  who  is  under  no  compulsion 
to  stand  in  the  village  street  and  look  at  the  outdoor 
movie  unless  the  film  itself  wins  and  holds  him. 

"In  this  case  we  invent  an  interesting  littl^  story, 
clear  and  vivid,  made  up  of  elements  the  audience 
recognizes.  With  music  and  color  we  appeal  to  their 
emotions  and  to  their  imagination,  holding  their  in- 
terest long  enough  to  implant  the  few  simple  lessons 
of  the  film." 

Can  these  films  which  seek  "to  implant  the  few 
simple  lessons"  help  to  reconstruct  the  peace  and 
understanding  of  the  world?  Walt  Disney  believes 
mightily  that  they  can,  and  we  are  inclined  to  agree 
with  him.  After  all.  it  is  the  "few  simple  lessons"  in 
the  history  of  mankind  which  have  moved  them  most 
mightily  to  action  and  to  understanding. 


Page   248 


The  Educational  Screen 


The  Sixlh  Annual  Meeting  of  the  Midwestern 
Forum  on  Audio-Visual  Teaching  Aids 


Summarized  by 

ABRAM  W.  VANDERMEER.  Ph.D. 

The  University  of  Chicago 


ITHE  contributions  of  audio-visual  teaching  mate- 
rials in  a  world  at  war  was  the  theme  of  the  Sixth 
.  Annual  meeting  of  the  Midwestern  Forum  on 
Audio- Visual  Teaching  Aids  held  July  23rd  and  24th  at 
the  University  of  Chicago.  In  addition  to  the  displays 
of  some  twenty-five  dealers  in  audio-visual  materials 
and  equipment,  three  general  sessions  were  held.  Each 
session  dealt  with  contributions  of  audio-visual  aids  to 
one  of  the  three  phases  of  the  war  effort :  civilian  mo- 
rale, industrial  education,  and  military  training.  Depart- 
ing somewhat  from  the  pattern  established  in  previous 
meetings,  there  were  no  demonstrations  of  actual  tech- 
niques for  using  films,  slides,  and  the  like.  Instead,  an 
attempt  was  made  to  show  something  of  the  wide  range 
of  new  uses  of  audio-visual  aids,  and  to  indicate  some 
of  the  important  new  developments  in  the  field. 

The  Use  of  Motion  Pictures  in  Developing  an 
Understanding  of  the  War 

Mr.  L.  C.  Larson  of  Indiana  University  presided  over 
the  Friday  evening  meeting,  which  began  by  showings 
of  sound  motion  pictures  from  the  Office  of  the  Co- 
ordinator of  Inter-American  Aflfairs,  the  National  Film 
Board  of  Canada,  the  British  Information  Service,  and 
the  U.  S.  Office  of  War  Information.  Mr.  William 
McHenry  of  the  Educational  Film  and  Recordings 
Institute  described  the  film  program  of  the  Office  of  the 
Cordinator  of  Inter-American  Afifairs.  The  two-fold 
nature  of  the  Coordinator's  program  was  outlined 
clearly  as  Mr.  McHenry  told  how  films  are  being 
used  to  give  information  about  the  United  States  of 
North  America  to  the  peoples  of  Latin  America  as  well 
as  to  inform  citizens  of  this  country  concerning  their 
neighbors  south  of  the  border.  Mr.  McHenry  said  that 
in  producing  these  films,  great  emphasis  is  placed  upon 
making  them  entertaining.  Only  the  barest  facts  are 
included  in  each  subject  because  of  the  magnitude  and 
complexity  of  Latin  America.  Militarily,  the  films  are 
helping  to  protect  our  weaker  southern  flank  against 
the  Axis  by  forming  a  body  of  opinion  favorable  to  the 
Allied  Cause.  At  the  same  time,  by  developing  a  feeling 
of  friendliness  and  by  encouraging  cooperation  among 
the  nations  of  the  Western  Hemisphere,  films  from  the 
Coordinator's  Office  are  helping  to  make  possible  a 
better  post-war  world. 

Thomas  Hodge  of  the  British  Information  Service 
described  the  use  of  films  in  developing  an  understand- 
ing of  the  war  in  Britain.  "It  is  our  philosophy,"  said 
Mr.  Hodge,  "that  the  people  will  cooperate  with  ad- 
ministration and  support  the  war  eflfort  in  direct  pro- 
portion to  their  understanding  of  the  war.  Films  of 
the  British  Information  Service  have  therefore  been 
produced  to  develop  understandings  basic  to  the  prose- 
cution of  the  war.  These  films  contain  no  exhortation. 
They  do  not  say  that  this  or  that  should  or  should  not 


be  done.  Rather,  each  film  attempts  to  describe  a  prob- 
lem and  to  show  how  people  are  getting  together  in 
group  action  to  do  something  about  the  problem.  In 
some  cases,  typical,  successful  solutions  to  problems 
growing  out  of  the  war  are  shown.  In  other  cases,  co- 
operative efforts  of  citizen  groups  in  attempting  to  find 
solutions  themselves  form  the  central  theme  of  the  film." 
Mr.  Hodge's  points  were  admirably  demonstrated  in 
the  film,  Via  Persia. 

The  program  of  the  official  motion  picture  agency  of 
Canada,  the  National  Film  Board,  was  described  at 
some  length  by  Mr.  Wesley  Greene  of  that  organization. 
The  successful  centralization  of  resources  for  producing, 
distributing,  and  utilizing  visual  materials  that  has  been 
accomplished  in  Canada  stands  in  marked  contrast  to 
the  relatively  high  degree  of  decentralization  which  char- 
acterizes the  activities  of  the  United  States  Government 
in  the  audio-visual  field.  Mr.  C.  R.  Reagan  described  the 
defunct  film  program  of  the  U.  S.  Office  of  War  In- 
formation, and  pointed  out  some  desirable  trends  should 
such  an  agency  again  be  re-established  to  carry  on  a 
program  of  audio-visual  education. 

The  Contribution  of  Visual  Aids  to  the  War 

Meetings  were  held  in  the  morning  and  afternoon  of 
Saturday,  July  24th.  The  morning  meeting,  over  which 
Mr.  Harry  E.  Erickson  of  RCA  presided,  was  divided 
between  a  discussion  of  visual  aids  in  military  training, 
and  demonstrations  and  statements  of  newer  develop- 
ments in  the  field  of  audio-visual  materials.  Lieutenant, 
Colonel  G.  McGuire  Pierce  of  the  United  States  Marine 
Corps  told  of  the  use  of  audio-visual  aids  in  combat 
training  of  the  fighting  Marine.  He  stated  that 
complete  dependence  upon  any  single  type  of  aid  is 
out-of-the-question  in  military  education ;  instead, 
the  peculiar  contributions  of  each  type  of  ma- 
terial that  make  it  especially  effective  for  a  given 
training  job  are  utilized  to  the  fullest  extent.  Thus, 
everything  from  sand  tables,  models,  and  dioramas  to 
sound  filmstrips  and  motion  pictures  are  used  in  the 
training  of  the  fighting  Marine.  To  illustrate  his  point, 
Lieutenant-Colonel  Pierce  showed  a  35mm  filmstrip 
and  a  16mm  sound  motion  picture,  both  of  which  are 
regularly  used  in  the  Marine  Corps  training  program. 

The  second  half  of  the  Saturday  morning  meeting 
was  given  over  to  demonstrations  and  discussions  of 
new  developments  in  audio-visual  materials  relating  to 
the  war  effort.  Materials  for  pre-induction  training 
were  discussed  by  Mr.  A.  J.  McClelland  of  Erpi  Class- 
room Films.  As  illustrative  of  a  wide-range  of  such 
teaching  aids,  one  of  a  new  series  on  radio  was  shown 
to  the  group.  Mr.  Curt  Dechert  of  the  Jam  Handy 
Organization  presented  the  findings  of  a  questionnaire 
study  of  the  factors  inhibiting  the  use  of  audio-visual 

(Concluded  on  page  252) 


September,   1943 


Page  249 


Pertinent  Pictures 


Left:  "Invasion  Convoy  —  Africa- 
bound"  was  the  public's  first  choice 
among  the  fifty  great  war  photo- 
graphs exhibited  in  The  Graflex 
War  Picture  Show.  The  winning 
picture  is  an  unusual  aerial  view 
taken  through  the  clouds  of  the 
U.  S.  African  convoy,  the  largest 
mass  movement  of  men  and  ships 
in  the  history  of  the  world. 

(U.  S.  Navy  Photo) 


Below:  Lt.  Harold  R.  Fleck,  USNR,  goes  into  action  with 

his  ship  at  Sicily.    Lt.  Fleck  was  President  of  the  Vaporate 

Company,  New  York  City,  before  the  war. 


Above:  Production  crew  at  work  on  a  documen- 
tary film  about  TVA  which  will  be  released  in 
foreign  countries  by  the  Overseas  Motion  Picture 
Branch  of  the  Office  of  War  Information.  Captain 
Traube  of  the   Signal   Corps  directed  the  film. 


Right:  A  new  important  Navy  devel- 
opment is  the  "Navy  Gunnery  Train- 
er"— a  special  unit  developed  by  Lt. 
Commander  D.  L.  Hibbard,  USNR, 
Special  Devices  Section  in  the  Bu- 
reau of  Aeronautics,  manufactured  by 
the  Jam  Handy  Organization  and 
built  around  the  Ampro  Dual  16mm 
projectors.  This  visual  training  device 
improves  the  guality  of  U.  S.  aerial 
gunnery  by  providing  machine  gun 
practice  under  simulated  aerial  battle 
conditions.  Against  a  silver  screen 
there  is  projected  the  moving  figure 
of  an  enemy  plane,  at  which  realis- 
tically the  trainee  "blasts  away."  A 
visual  scoring  device  permits  the  in- 
structor to  observe  the  accuracy  of 
the  trainee's  aim. 


Page   250 


The  Educational  Screen 


IDEAL'S  1943-44  Catah 


Other  Especially  Worthwhile  Features  for  Schools: 

"CHILDREN  OF  THE  WILD" 

Thrilling  animal  story  filmed  in  the  Rocky  Mountains, 
with  "Silver  Wolf"  a  finely  trained  police  dog  as  chief 
actor,  and  many  wild  creatures  of  the  forest  play  other  im- 
portant roles.  Mountain  lions,  wolves,  badgers,  deer  and 
golden  eagles  are  beautifully  photographed  in  their 
natural  haunts. 

"ZAMBOANGA" 

Filmed  in  the  remote  islands  of  the  Sulu  Sea,  an  all-native 
cast  enacts  the  colorful,  dramatic  story  of  the  life  of  the 
Moro  Sea  gypsies.  The  novelty,  beauty  and  variety  of 
native  customs  are  built  around  the  story  of  a  native 
pearl  diver  and  his  sweetheart.  A  pictorial  and  cultural 
treat  for  the  discriminating. 

"CODE  OF  THE  REDMAN" 

A  thrilling  drama  of  the  wilderness  told  against  the 
background  of  an  Indian  village  on  the  Southwest  frontier. 
Features  the  magnificent  horse  ''Thunder"  with  an  amaz- 
ing display  of  almost  human  intelligence.  Important 
roles  enacted  by  full-blooded  Indians. 


DO  YOU  RUN  SERIALS? 

Book  the  latest  and  best 
"RIDERS  OF  DEATH  VALLEY" 

in   15   chapters   starring   Leo   Carillo,   Buck   Jones  and 
Dicli  Foran. 


Send  for  your  free  copy.  It 
and  Sound  Films  of  whic 

Notable  MAJOR  Features  Exclusively  di 
by  IDEAL  and  NOT  requiring  approval  oj 

"LITTLE  LORD  FAUNTLERO\ 

starring  Freddie  Bartholomew  and  Dolores  C 
the  screen  version  of  Frances  Hodgson  Burnett 
classic.  Guy  Kibbee,  Mickey  Rooney  and  C 
Smith  also  contribute  notable  performances. 

"BECKY  SHARP" 

William  M.  Thackeray's  great  historical  novel 
Fair,"  comes  to  life  on  the  screen,  with  Mirian 
in  the  title  role,  and  Alan  Mowbray  and  C.  Aub 
in  important  supporting  roles. 

"THE  DANCING  PIRATE" 

Gay  and  thrilling  musical  romance,  with  Charl 
as  the  dashing  buccaneer,  Frank  Morgan  in  a 
comedy  role  and  Steffi  Duna  as  heroine. 

"THE  YOUNG  IN  HEART" 

Delightfully  amusing  whimsical  character  corr 
gaging  roles  deftly  played  by  an  all-star  cast, 
Douglas  Fairbanks,  Jr.,  Janet  Gaynor,  Roland  \ 
Billie  Burke. 

"A  STAR  IS  BORN" 

The  motion  picture  that  made  history.  A  stc 
Hollywood,  and  the  shy  young  girl  who  becom 
Authentic  Hollywood  background  adds  inten 
Janet  Gaynor  and  Fredric  March. 


IDEAL  PICTl 

Address  request  for  catalog  and  in) 

28  E.  8th  Street  1 7  So.  Third  Street 

Chicago,  Illinois  Memphis,  Tennessee 

2024  Main  St.  Drawer  H.— M 

Dallas,  Texas  Portlan( 

or   Bertram  Willoughby  Pic 


September,   1943 


Page  251 


ippiement  Is  Now  Ready! 

latest  and  finest  16mm  Silent 
ing  are  but  a  few  examples: 

Another  EXCLUSIVE  Feature,  particularly 
entertaining  for  juvenile  audiences 


"RHODEO  RYTHM" 

Kiiapp's  famous  juvenile  rough-riders  in  a  lively 
n  story  featuring  daring  horsemanship  by  these 
igsters. 

Additional  MAJOR  Features  ISOT  requiring 
approved  of  contract: 

CATTERGOOD   BAINES" 
CATTERGOOD  PULLS  THE  STRINGS" 
CATTERGOOD  MEETS  BROADWAY" 

is  of  three  subjects  starring  Guy  Kibbee  in  the  title 
of  the  genial,  resourceful  small-town  philosopher, 
veil-known  character  of  fiction  and  radio  created  by 
mce  Budington  Kelland. 

DR.  CHRISTIAN  Series 

X  subjects,  starring  the  beloved  Jean  Hersholt.  Guide, 
>sopher  and  friend,  as  well  as  physician  to  all  in 
rs  End.  he  opposes  and  fights  all  that  threatens  the 
are  of  his  community.  Entertainingly  combine  drama, 
or  and  romance.     Titles  are: 

4EET  DR.  CHRISTIAN" 
:OURAGEOUS  DOCTOR  CHRISTIAN" 
IR.  CHRISTIAN  MEETS  THE  WOMEN" 
iELODY  FOR  THREE" 
HEY  MEET  AGAIN" 
[EMEDY  FOR  RICHES" 


CORPORATION 

le  and  other  films  to  our  nearest  office: 

1739  Oneida  Street  89  Cone  St..  N.W. 

lia  Denver,  Colorado  Atlanta,  Georgia 

S36  N.E.  2nd  Avenue         210  E.  Franklin  Street 

Miami,  Florida  Richmond,  Virginia 

I,  1600  Broadway.  New  York,  N.  Y. 


Scene  from  "Journey  to  Jerusalem" 


99 


TWO  GREAT  ^'SPECIALS 

Maxwell  Anderson's  famous  stage  play 
in  16mm  ONLY 

"JOURNEY  TO  JERUSALEM" 

An  actual  reproduction  on  film  of  the  New  York  stage 
presentation.  This  beautiful  and  dramatic  Biblical  master- 
piece is  based  on  a  passage  from  St.  Luke  which  tells 
of  a  Passover  Pilgrimage  to  Jerusalem  by  the  boy  Jesus 
and  his  family,  during  which  He  first  realizes  that  He  is 
to  become  the  Messiah.  Photographed  exactly  as  it  was 
produced  on  the  stage  with  the  same  notable  cast  of 
players.  It  has  been  given  superlative  praise  by  church 
and  community  leaders. 

"THE  MAN  AT  THE  GATE" 

starring   Wilfred   Lawson  of  ^'^Paslor  Hall"   Fame 

A  stirring  and  beauti- 
ful portrayal  of  the 
influence  of  Christian 
faith  on  the  human 
heart.  Notably  acted 
by  an  expert  cast  the 
perfect  balance  of  the 
spiritual  with  the  ma- 
terial has  resulted  in 
a  fine  motion  picture 
that  will  touch  and  in- 
spire all  who  see  it.  This 
feature  has  been  ac- 
corded enthusiastic  en- 
dorsement by  school 
and  church  officials  and 
its  timely  and  inspiring 
story  deserves  telling 
to  school  and  church 
audiences  throughout 
the   country. 


Page  252 


The  Educational  Screen 


Annual  Meeting  of  Midwestern  Forum 

{Concluded  from  page  248) 

materials  by  teachers.  In  general,  the  study  suggested 
that  the  most  serious  hindrances  are  those  involved  in 
securing  materials  and  administering  and  operating 
equipment.  Mr.  E.  C.  Dent  of  the  Society  for  Visual 
Education  described  several  new  developments  in  still 
projection  materials.  Three-dimensional  projection  was 
described  and  explained.  The  availability  of  the  Coronet 
Magazine  Picture  Stories  in  filmstrips  was  announced. 
Materials  and  equipment  for  teaching  aircraft  identifica- 
tion by  the  WEFT  method  were  described  and  demon- 
strated. Finally,  the  outlook  on  the  availability  of  pro- 
jection equipment  for  pre-induction  courses  was  touched 
upon  briefly. 

Contribution  of  Visual  Aids  to 
Industry  and  Education 

The  uses  of  audio-visual  materials  in  industry  was 
the  theme  of  the  Saturday  afternoon  meeting,  presided 
over  by  Mr.  Alvin  B.  Roberts,  Principal,  Haw  Creek 
Township  High  School,  Gilson,  Illinois.  Mr.  William 
Kruse  of  the  Bell  and  Howell  Company  talked  on  spe- 
cialized uses  of  visual  materials  in  industry.  In  em- 
phasizing his  statement  that  no  single  audio-visual  aid 
has  a  right  to  unrestricted  preference  in  industrial  train- 
ing, Mr.  Kruse  cited  Russian  use  of  motion  pictures  on 
servicing  and  assembling  American  airplanes  and  tanks, 
the  use  of  illustrations  and  diagrams  in  training  lens 
grinders,  and  the  importance  of  motion  pictures  in  build- 
ing morale  among  individual  workers. 

An  experimental  study  of  the  economy  of  time  in 
industrial  training  through  the  use  of  sound  motion 
pictures  was  reported  by  Abram  VanderMeer  of  the 
University  of  Chicago.  The  specific  hypothesis  tested  in 
the  study  was  that  prospective  lathe  operators  whose 
training  included  the  integrated  use  of  motion  pictures 
would  learn  the  various  skills  to  the  required  degree  of 
proficiency  in  less  time  than  those  whose  training  did 
not  include  such  aids.  Approximately  ninety-five  engine 
lathe  trainees  of  the  Amertorp  Naval  Ordnance  Plant 
acted  as  subjects  for  the  experiment.  Half  of  the  train- 
ees were  taught  by  a  method  which  included  a  carefully 
worked  out  series  of  lessons  based  upon  United  States 
Office  of  Education  training  films.  The  other  half  of 
the  trainees  were  taught  by  the  conventional  lecture- 
demonstration-reading  method  identical  with  that  used 
in  the  film  group  with  the  exception  that  the  film  lessons 
were  omitted.  Groups  were  equated  in  terms  of  motor 
ability,  mathematical  skill,  and  technical  information  at 
the  beginning  of  the  experimental  period.  On  the  basis 
of  individual  time  records  it  was  observed  that  the  film 
groups  on  the  average  finished  to  rigid,  objective  spe- 
cifications each  of  twelve  practice  jobs  on  the  lathe  in 
from  50  to  85  per  cent  of  the  time  required  by  non- 
film  groups  on  identical  jobs.  On  the  average,  the  film 
group  had  fewer  rejections,  which  indicates  that  their 
superior  speed  in  learning  was  accompanied  by  equal, 
if  not  greater,  accuracy  of  work.   This  also  shows  that 


speed  did  not  require  sacrifice  materials.  Furthermore, 
the  superiority  of  the  film  groups  was  greater  on  the 
more  difficult  lathe  operations  than  it  was  on  the  simpler 
operations  which  allowed  larger  tolerances. 

Mr.  Floyde  Brooker  of  the  United  States  Office 
of  Education  spoke  on  the  responsibilities  of  executives 
and  administrators  for  the  wider  use  of  audio-visual  aids. 
The  first  pre-requisite,  said  Mr.  Brooker,  is  to  provide 
an  adequate  budget  for  the  procurement  of  materials. 
However,  even  with  adequate  materials,  leadership  in 
efficient  utilization  must  be  supplied  if  the  optimum 
value  is  to  be  obtained  from  them.  Finally,  the  use  of 
audio-visual  materials  should  be  facilitated  by  the  re- 
moval of  the  complicated  and  tedious  details  so  often 
connected  with  getting  a  class,  a  projector,  and  a  visual 
aid  together  at  the  proper  time.  These  last  two  respon- 
sibilities can  best  be  met,  said  Mr.  Brooker,  by 
appointing  a  well  qualified  person  to  act  as  di- 
rector of  audio-visual  education.        i 

Summary 

The  meeting  closed  with  a  summary  statement 
by  Mr.  William  Reavis  of  the  University  of  Chi- 
cago. Mr.  Reavis  explained  that  difficulties  of  hous- 
ing and  transportation,  together  with  a  desire  to 
make  the  meeting  more  easily  available  to  school 
administrators,  had  been  responsible  for  the  fact 
that  this  year's  Forum  meetings  were  held  in  July 
instead  of  early  spring  as  has  been  the  practice  in 
previous  years.  An  analysis  of  the  registrations  at 
the  meetings  revealed  that  the  largest  single  group 
represented  was  the  school  administrators. 

Approximately  two  bunded  and  twenty-five  regis- 
tered for  the  Forum,  but  it  was  estimated  that  the 
actual  attendance  exceeded  this  figure  considerably. 
The  largest  number  came  from  Illinois  and  Indiana, 
but  twenty-five  states  were  represented  by  one  or 
more  registrants.  In  addition  to  school  adminis- 
trators, there  were  large  groups  of  teachers  and 
audio-visual  dealers  in  attendance.  Instructors  in 
higher  institutions  led  in  attendance  among 
teachers.  The  presence  of  sizeable  numbers  of  rep- 
resentatives of  industry  and  the  armed  forces  pro- 
vides evidence  of  the  interest  of  these  groups  in  the 
Forum.  Confirming  previous  experience,  it  was 
evident  that  the  Midwestern  Forum  groups  dupli- 
cate relatively  little  of  those  attending  meetings 
of  the  Department  of  Visual  Instruction  since  only 
about  one  in  seven  Midwestern  Forum  registrants 
indicated  membership  in  the  other  organization. 

The  reactions  to  the  1943  Forum  meeting  that 
have  come  to  the  attention  of  the  author  have  been 
almost  unanimously  favorable.  The  program  was 
perhaps  the  most  varied  to  be  oflFered  in  recent 
years,  and  therefore  it  contained  much  material 
of  significance  for  the  several  professional  interest 
groups  attending.  The  general  feeling  was  that  the 
variety  of  uses  of  audio-visual  aids  described  and 
demonstrated  in  the  two-day  meeting  was  a  signifi- 
cant sign  of  the  increasing  importance  of  these  ma- 
terials in  training  and  in  education. 


September,   194} 


Page  253 


Ac"" 


FREE  CIRCULAR  describ- 
ing this  new  non-profit 
vtfual  aid  service  will 
be  sent  upon   request. 


SEPTEMBER 

"Through  fh»  Pmriscope" 
Shows  how  the  subma- 
rine is  being  used  in 
World  War  II. 

OCTOBER 

"China  Kghfs  Bock" 
Mme.  Chiang   Kai-shek's 
thrilling    story  oi   her 
country's  courageous  war 
effort. 

NOVEMBER 

•'Th»  UnitBd  Statu 
Navy" 
This  Picture  Story  will 
appear  in  full  natural  color 
—  both  slidefllms  and  re- 
prints. 


CORONET 


MAGAZINE 


/f^t^oc^^^^ 


A  NEW  NON-PROFIT 

VISUAL  AID  SERVICE 

FOR  SCHOOLS  THROUGH 

S.V.E. 


Eight  SLIDEFILMS  OF  CORONET  Picture  Stories  for  $2 

Twenty-five  BOOKLET  REPRINTS  of  CORONET 

Picture  Stories  for  25c 

Each  month,  CORONET,  in  its  "Piaure  Story"  seaion,  presents 
a  timely  pictorial  treatment  of  some  interesting  phase  of  history 
in  the  making.  Because  these  illustrated  stories  contain  valuable 
teaching  material  for  use  in  history  and  other  social  studies, 
CORONET  is  now  contributing  to  wartime  education  by 
making  selected  issues  of  the  Picture  Story  available  to  schools 
in  two  convenient  iotms—slidefilms  and  reprints.  This  service 
is  furnished  at  the  cost  of  postage  and  handling  only. 

The  slidefilms,  produced  by  the  Society  for  Visual  Education, 
Inc.,  can  be  shown  with  any  standard  35  mm.  slidefilm  pro- 
jector. Titles  of  the  first  three  releases  are  listed  on  the  left-hand 
side  of  this  advertisement. 

The  Picture  Story  reprints  cost  Ic  each  with  a  minimum  order 
of  2  5.  An  8-months'  series — 25  copies  of  each  Picture  Story  as 
released— will  cost  but  $2.00.  The  entire  series  of  8  slidefilms 
— including  at  least  one  full-color  subject — costs  only  S2.00. 

All  requests  for  either  slidefilms  or  Picture  Story  reprints, 
or  for  further  information  should  be  sent  to  the  Society  for  Visual 
Education,  Inc.,  100  East  Ohio  Street,  Chicago  {11),  Illinois, 
using  the  coupon  below. 


i 


BUY     WAR     BONDS     AND     STAMPS 


^ 


ORDER  CORONET  VISUAL  AIDS  NOW! 


SOCIETY   FOR  VISUAL  EDUCATION,  Inc.,  Dept.  9  ES 
100  East  Ohio  Street,  Chicago  1 1,  Illinois 

Quantity  Please  enter  our  order  for  the  following: 

Subscriptions  for  the  series  of  8  CORONET  slide- 
films  @  $2.00  each. 

Subscriptions  for copies  of  the  CORONET  Picture 

Story  reprints  a  month  for  8  months  @   Ic  a  copy. 


Q  Please  send  Free  Grcular  on  the  new  CORONET  Visual  Aid  Service. 


Name- 


Schoot— 


Addrest- 
City 


_S»o»e_ 


SOCIETY  FOR  VISUAL  EDUCATION,  Inc.,  100  East  Ohio  Street,  Chicago  11,  Illinois 


Page  2  54 


The  Educational  Screen 


^riE  u^it^xatuxE  in  ^  viiuaL  Lln±ixiiation 


A    Monthly    Digest 


Conducted    by    ETTA     SCHNEIDER 


ADMINISTRATION 

Planning  a  Visual  Center. — Lt.  James  P.  Fitzwater,  formerly 
Lake  View  High  School,  Chicago — Nation's  Schools,  32:58. 
August,  1943. 

Floor  plans  supplement  the  description  of  a  recommended 
Audio-Visual  Center  in  a  high  School.  The  proposal  calls 
for  a  coordinator  of  visual  instruction,  working  with  a  secretary 
and  student  staff.  The  Center  includes  a  projection  room  with 
seating  capacity  of  140,  adjoining  the  main  office,  preview  room, 
library-conference  room  and  coordinator's  office.  With  two 
projectors  enclosed  in  booths,  one  for  group  showings  and  one 
for  previews,  there  is  a  minimum  of  wear  on  the  equipment. 

FILM  PRODUCTION 

The  Basic  English  Teaching  Films — Mary  L.  Guyton,  State 
Department  of  Education,  Boston — Adult  Education  Bulletin, 
7:118  April,  1943. 

The  possibilities  of  teaching  basic  English  in  a  meaningful 
and  lasting  way  are  being  studied  by  I.  A.  Richards,  with  the 
cooperation  of  the  Walt  Disney  Studios,  under  a  Rockefeller 
Foundation  grant. 

By  this  plan,  there  would  be  a  course  of  twenty  reels,  each 
lasting  slightly  less  than  ten  minutes.  About  five  hundred  basic 
words  and  their  use  would  thus  be  demonstrated  by  animated 
figures.     One  test  reel  has  been  completed. 

SLIDEFILMS 

The  Probable  Role  of  the  Soundslide  Film  in  Postwar  Edu- 
cation— Ellsworth  C.  Dent — American  School  Board  Journal. 
107:35   July,    1943. 

An  abstract  of  an  address  at  the  Conference  on  Radio  in 
Education,  held  last  May  at  Columbus,  Ohio. 

There  is  every  indication  that  slidefilms — with  and  without 
sound  accompaniment — will  be  used  more  generally  in  post- 
war education  than  any  other  type  of  mechanical  aid  to  class- 
room instruction.  This  statement  is  made  after  full  considera- 
tion of  the  ever  increasing  use  of  motion  pictures,  recordings, 
transcriptions,  and  radio  programs. 

War  training  is  making  intensive  use  of  the  soundslide  film, 
with  notable  results.  Some  have  indicated  that  training  time 
has  been  reduced  by  40%.  Airplane  recognition  slides  help  to 
develop  almost  instantaneous  recognition. 

It  is  estimated  that  there  are  now  125,000  or  more  slidefilm 
projectors  in  use  in  schools.  Auxiliary  sound  apparatus  will 
be  provided  after  the  war,  as  well  as  educational  transcriptions 
to  accompany  slidefilms. 

RADIO  and  RECORDINGS 

A  New  Clearing  House  for  Educational  Recordings:  4-page 
circular.  New  York  University  Film  Library,  Recordings 
Division,  152  West  42nd  St.,  New  York  City. 

The  ^Recordings! Division  ofithe  American  Councilion  Educa- 
tion'has  been  added  to  the  New  York  University  Film  Library. 
This  circular  lists  educational  recordings  available  on  social 
and  economic  problems,  literature,  languages,  United  States 
history,  and  science  for  the  enrichment  of  class  and  group  dis- 
cussion. 

This  Division  will  continue  to  make  available  recordings 
on  educational  subjects,  to  evaluate  recordings  offered  by  various 
agencies,  to  encourage  the  production  of  educational  recordings, 
to  help  teachers  and  discussion  groups  select  recordings  for  their 
programs,  to  prepare  and  distribute  selected  lists  of  recordings, 
and  to  fill  orders  for  them. 


High  School  on  the  Air — K.  Duane  Hurley,  Marysville 
(Cal.)  Union  High  School — Sierra  Educational  News,  39:9 
June,   1943. 

An  extensive  broadcasting  program  from  the  local  station 
is  conducted  three  times  each  week.  The  campus  broadcasting 
station  is  connected  with  the  local  commercial  station's  trans- 
mitter. All  technical  work  involved  in  broadcasting,  however, 
is  done  by  sudents.  Thus,  vocational  training  in  the  various 
aspects  of  radio  work  is  afforded  in  the  high  school. 

We're    Wondering — Georgiana    K.    Browne,    Radio    Super- 
visor, Ventura  Co.   (Cal.) — Sierra  Educational  News,  39:26 
June,  1943. 
An  account  of  radio  programs  which  are  planned  and  executed 

by  intermediate  grade  children. 

PERIODICALS 

Sight  and   Sound — Summer,    1943 — British    Film   Institute, 

London. 

The  development  of  filmstrips  for  education  in  England  is 
described  in  "Using  the  Film  Strip,"  by  A.  Arkinstall,  head- 
master of  a  boys'  school  in  Watford,   (p.  19) 

A  250-watt  projector  with  changeable  lenses  allows  for  audi- 
torium and  classroom  use  (a  tri-purpose  type  of  machine  is 
described).  For  preview,  a  viewer  is  available  for  the  teacher. 
The  article  concludes  with  an  appeal  for  more  and  better  film 
strip  materials. 

*     *     * 

An  interesting  development  in  photoplay  appreciation  is 
described  on  p.  21.  One  of  the  theatre  chains  has  initiated 
Cinema  Clubs  for  Boys  and  Girls  whereby  selected  matinee 
programs  will  be  supplemented  by  educational  films  or  cartoon- 
type  of  slides.  Children's  committees  of  old  boys  and  girls  will 
act  as  monitors,  will  visit  ill  members,  and  promote  worthwhile 
activities  among  the  members. 

The  use  of  films  for  rural  education  in  Essex  is  described 
by  B.  E.  Lawrence  on  page  14.  Mobile  vans  remain  within  a 
given  district  for  a  few  weeks  during  which  time  the  films  are 
planned  with  the  teachers.  One  van  generates  power  for  the 
projector. 

Lack  of  darkening  facilities  and  teachers  inexperience  in 
applying  films  to  the  curriculum  are  important  problems.  Suit- 
able films  for  elementary  grades  are  needed,  and  not  necessarily 
sound  films. 

SOURCES  OF  INFORMATION 

French  Films  for  American  Schools:  a  selected  list  of  sixteen 
titles. — A.  S.  Ackerman,  comp. — French  Revieiv,  16:355-7 
February,  1943. 

Science — compiled    by    George    E.    Flimlin,    High    School, 
North  Arlington,  N.  J. — available  from  Audio-Visual  and 
Teaching    Aids    Service,    N.    J.    State    Teachers    College, 
Upper  Montclair,  N.  J.  43  pp.  mimeo.  1943.   75c. 
An   excellent   list   of  audio   visual   and   teaching  aids   in- 
tended  to  supplement   the  teaching  of   General   Science   in 
all  grades.     The  material  is  grouped  under  two  main  classi- 
fications:   "Science    in    General,",    which    includes    Nature 
Study  and  Physics,  and  "Contributions  of  Science  to  Our 
Daily    Life."      This    second    group,    which    constitutes    the 
greater  part  of  the  publication,  is  subdivided  into  "Science 
in  Farm  and  Garden,"  "Science  in  Industry,"  "Science  in  the 
Home,"  and  "Science  in  Warfare." 

This  compilation  of  teaching  aids  is  offered  as  this  col- 
lege's second  contribution  to  the  program  of  education  in 
wartime.  The  first  in  this  series  covered  the  subject  "Fly- 
ing and  Weather." 


September,   194} 


Page  255 


t« 


X 


arget  for  Tonight 


» 


In  the  "Ready  Rooms"  of  aircraft 
carriers,  in  flight  quarters  at  aviation 
land  bases,  in  classrooms  for  main- 
tenance instruction  courses,  projection 
instruments  are  performing  vital  serv- 
ices in  the  war  of  today. 

Of  the  various  types  of  Spencer  pro- 
jectors suitable  for  these  tasks,  the 
VA  Delineascope  has  been  especially 
useful  since  it  is  capable  of  projecting 
slides    or    opaque    material,    such    as 


photographs,  charts,   maps  or  draw- 
ings. 


Optical  instruments  are  so 
"vital  to  war  and  public  health 
that  the  nation's  needs  absorb 
Practically  all  of  Spencer's 
greatly  increased  production. 


I^PdlCCr  LENS  COMPANY 
1  BUFFALO,  NEW  YORK 

SCIENTIFIC    INSTRUMENT    DIVISION   OF 

AMERICAN   OPTICAL   COMPANY 


Page  256 


The  Educational  Screen 


SCHOOL  MADE  MOTION  PICTURES 


By    HARDY    R.    FINCH 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 


A  Documentary  Film  in  8mm 

ALTHOUGH  the  sixteen  millimeter  film  is  used  b}' 
most  school  film  producers  today,  practical  films 
may  be  made  on  8mm  stock  for  showing  before  small 
audiences. 

A  practical  8mm  film  is  Looking  Fonvard,  a  1200-foot 
documentary  showing  the  present  program  of  the 
Department  of  Hygiene  (Women),  of  Brooklyn  Col- 
lege. Elizabeth  M.  Pierce  and  Marian  M.  Manico 
were  co-producers.  Titles  for  the  film  were  made 
by  Arturo  Sofo. 

The  aim  of  the  picture  was  "to  record,  through  tlie 
medium  of  the  motion  picture,  a  program,  built  on 
principles  of  healthful  living,  which  is  now  open  to  the 
entire  student  body  of  Brooklyn  College  (one  of  the 
four  City  Colleges  of  the  City  of  New  York.)" 

Miss  Pierce's  outline  of  the  film  is  given  below : 

Reel  1.    Part  I.    Introduction. 

General  Views,  Campus,  Academic  Buildings,  Library,  Gym- 
nasium, Students  entering  Gymnasium,  Hygiene  Office,  close-up 
of  Head  of  the  Department,  Department  of  Secretary,  Students 
making  appointments. 

Part  II.     Medical  Examination  (Required  of  all  entering 
freshmen) 

Identification  photograph,  hair  and  skin,  weight  and 
height,  posture  and  feet,  Snellen  Chart  vision  test,  Audio- 
meter hearing  test,  blood  pressure,  examination  by  M.D., 
final  check  on  findings  by  M.D.,  lung  X-ray  (not  shown  in 
this  film) 

Part  III.    Required  Courses 

A.  General  Hygiene.  "A  course  in  personal  hygiene  includ- 
ing a  study  of  the  care  of  the  systems  of  the  body;  the 
prevention  of  infectious  diseases ;  the  elements  of  diet 
and  nutrition."* 

Class  and  instructor  demonstrating  mannikin  and  skeleton. 

B.  Physical  Education  (Freshman)  "Self  testing  activities; 
team  games ;  rhythms ;  folk  dancing ;  social  dancing ; 
etc."* 

Laboratory  phase  of  hygiene,  showing  general  view  of 
the  class,  taking  attendance,  introductory  gymnastics, 
games. 

Reel  II.    Part  III. 

B.  (continued) 

Folk  Dancing,   First  Aid  Demonstration. 

C.  Physical  Education  (Sophomores)  "Students  are  required 
to  select  one  of  the  following:"  Fencing,  Archery, 
Hockey,  Softball,  Tennis,  Badminton,  Basketball,  Modern 
Dancing  and  use  of  Percussion  Instruments,  Swimming 
(See  Reel  III.) 

Reel  III. 

C.  (continued)    Swimming 

Test,  steps  in  learning  the  crawl  stroke,  diving,  sterilizer 
and  towel  service. 

D.  Modified  Courses.  "Required  of  those  students  whose 
physical  condition  disqualifies  them  for  any  of  the  above." 
Exercises,  Deck  Tennis,  Shuffleboard,  Ping-pong,  Resting. 


With  a  question  box  on  the  making  of 
school  film  productions,  conducted  by 

DONALD    A.   ELDRIDGE, 
Wesleyan  University,  Middletown,  Conn. 


•indicates  quotations  from  the  Brooklyn  College  Bulletin  for   1942-43. 


Part  IV.     Posture  and  Remedial  Gymnastics. 

Relationship  of  body  mechanics  to  posture. 

Class  and  individual  demonstration  of  corrective  exercises. 

Part  V.  Medical  Services 

Medical  Office,  Infirmary,  Doctor,  Nurse,  Patients,  Basal 
Metabolism.    (Benedict-Roth    Spirometer.) 

Reel  IV.     Part  VI.     Elective  Courses  of  Study 

A.  Physiology. 

Supply  Room,  Elementary  Laboratory,  Urine  Analysis, 
Dissection  of  gastrocnemius  muscle  of  frog.  Measuring 
muscle  load  of  frog  muscle.  Measuring  hunger  contraction 
with  stomach  tube.  Eye  dissection.  Cleaning  and  storing 
equipment.  Nutrition  study  showing  rats  raised  with  diet 
deficiencies. 

B.  Home  Economics.    Three   recitations  a  week  and  three 
hours  of  field  or  laboratory  work. 

1.  The  Home  and  its  Furnishings,  (not  shown  in  this  film.) 

2.  Fabrics  and  Clothing. 

"Textile  fibres,  their  production  and  preparation  for 
weaving ;  dyes  and  dying ;  history  and  hygiene  of  cloth- 
ing ;  materials  and  color  in  costume."  (not  shown  in 
this  film.)  * 

3.  Food  Products. 

"Sources,  preparation  and  manufacture  of  food  materials ; 
food  laws  and  food  inspection."  * 

Reel  V.    Part  VII.    Extra-Curricular  and  Allied  Activities 
"The  Department  of  Hygiene  fosters  various  intra-mural  and 
intercollegiate   sports    including   baseball,    basketball,    handball, 
field  hockey,  swimming,  tennis,  archery,  fencing." 

A.  Athletic  .Association  Board  Meeting. 

B.  Hockey  Game. 

C.  Basketball  Game. 

D.  Fencing  Intercollegiates. 

E.  Water  Ballet. 

Reel  VI. 

F.  Modern  Dance  Recital. 

G.  Defense  Day  Demonstration. 

1.  Wall  Climbing,    (men) 

2.  Net  Jumping,   (men) 

3.  Mass  Exercises,  (men  and  women) 


Illinois  University  Filmed 

Visual  Aids  Service,  University  of  Illinois,  Urbana, 
111.  has  a  new  16mm.  color  sound  film  entitled  March- 
ing mini — which  tells  a  story  of  the  University  of  Illi- 
nois, a  vast  laboratory  of  science  and  citizenship,  serving 
in  war  as  well  as  in  peace.  It  emphasizes  that  the  univer- 
sity at  war  is  essentially  the  same  as  the  university  at 
peace — -preparing  men  and  women  to  do  the  work  of 
the  world,  and  if  the  work  is  war,  then  they  are  pre- 
pared to  carry  on  war.  A  great  university  is  marching 
forward  in  its  learning  and  in  developing  its  students. 
The  film  has  a  running  time  of  32  minutes.  It  is  avail- 
able without  charge. 

{Concluded  on  page  258) 


September,   194} 


Page  257 


NEW. . .  EXCITING ... 
ENTERTAINING . . .  EDUCATIONAL 


COMBINING  SIGHT  and  SOUND 


"The  Engulfed  Cathedral"  as  illustrated   by  Danny  Hall  for 
the  Janssen  production. 

AfaUA    READY  FOR  RELEASE 
ARE  THE  .  .  . 

Inspirational: 

"THE  ENGULFED  CATHEDRAL" 

by  Claude  Debussy 

Dramatic  portrayal  of  the  legend  of 
the  Cathedral  which  disappeared  be- 
neath the  waves. 

Romantic: 

"CLAIR  DE  LUNE" 

by  Claude  Debussy 

...  a  dreani  ...  a  boy  and  girl 
.  .  .  and  moonlight. 

Humorous: 
"THE  HEN" 

by  Jean  Philipe  Rameau 

The  story  of  a  hen  .  .  .  who  is  "all 
out  for  Victory." 


ADOniONAL  SUBJECTS  NOW 
IN  PRODUCTION 


The 

Visual 
Re-Creation 
of  Music 

MASTER  COMPOSERS 

brought  to  the  screen  in 
RADIANT  16MM  KODACHROME 

By 
Werner  Janssen 

Conducting 

THE  JANSSEN  SYMPHONY 

{Recording   exclusively   for  RCA    Victor  Red  Seal   Records) 

•  Filmed  by  Hollywood's  outstanding  tech- 
nicians in  Radiant  16MM  Kodachrome  and 
recorded  by  RCA  High  Fidelity  sound, 
these  subjects  are  available  at  the  low 
daily  rental  rate  of 


$350 


per  day 

per  subject 

in  16mm 


(including  transportation  one  way) 
NO  restrictions  on  playing  locations 


Please  give  two  alternate  play  dates  when  ad- 
dressing your  bookings  to 

Motion  Picture  Department 

THE  JANSSEN  SYMPHONY 

4403  W.  8th  St.  Los  Angeles,  Calif. 

YOrli  6455  Zone  5 


Page  258 


The  Educational  Screen 


acinic 


Covarrubias  Reproductions 

a.  pictoiial  encuclojaedia 
o^  ike  Pi 

Treasured  possessions  for  home  or  classroom,  these  famed  mural 
maps  by  Miguel  Covarrubias  were  first  shown  in  the  Pacific  House, 
theme  building  of  the  San  Francisco  World  Fair.  Scientific  ac- 
curacy is  combined  with  artistic  directness  in  this  painstalcing  study 
of  Pacific  ethnology,  economy,  art,  botany,  zoology,  native  hous- 
ing and  transportation.  Unusual  versatility  makes  these  maps  dec- 
orative, as  pictures;  important  as  visual  education;  stimulating,  as 
an  insight  into  a  vital  world  area. 

SCHWABACHER-FREY 


735  Market  Street 


San  Francisco,  19,  Calif. 


• 

Peoples  of  the  Pacific,  38x25  In 2.00 

Flora  and  Fauna,  38x25  in 2.00 

Art  Forms,  38x25  in 2.00 

Economy,  38x25  in 2.00 

(Available  only  on  orders  for  the 
complete    set    of    six    subjects). 

Native    Dwellings,   25x19  in 1.50 

Means  of  Transportation, 
25x19  in 1.50 

Set  of  all  six  of  the  Covarrubias 

Reproductions  in  mailing  tube....    8.30 

Sets  of  all  six  of  the  Covarrubias 
Reproductions  in  portfolio  witJi 
pamphlet  edition  of  "ixplanatory 
text 9.65 

• 

Wrtta  HI  for  further  detail*. 


Pasadena  School  Productions 

A  listing  of  the  16mm  films  produced  by  the  Pas- 
adena, California,  City  Schools  has  been  furnished  to 
this  department  by  Mr.  Harry  H.  Haworth  of  the 
schools'  library  and  visual  service.  For  the  con- 
venience of  schools  wishing  to  show  the  Pasadena  films, 
Mr.  Haworth  has  included  nominal  rental  fees  in  his 
film  summaries   quoted  below. 

They  Can  Help — 23  min.,  sound,  $3.00 — ^produced  by 
the  Pasadena  City  Schools  under  the  sponsorship  of 
the  Junior  Chamber  of  Commerce,  to  show  the  scope, 
the  resources,  and  the  results  obtained  by  the  Pasa- 
dena Junior  College  Employment  Bureau. 

Art  in  Living — 4  reels,  silent,  $3.00,  Junior  High 
School.  An  attempt  is  made  in  this  picture  to  show 
how  a  modern  art  curriculum  is  used  to  train  students 
to  meet  the  problems  of  our  modern  world. 

Scratclijoot  Ranch — a  first  grade  unit  and  Junior 
Citrus  Corporation,  a  third  grade  unit,  1  reel,  silent, 
Sl.OO.  The  first  graders  "develop"  their  ranch  in  the 
gardens  next  to  their  bungalow  school  room  and  pick 
and  sell  their  crop  of  figs.  As  second  and  third  graders 
they  found  an  old  citrus  tree  in  their  garden  which 
needed  pruning,  spraying,  and  fumigating.  This  led 
them  to  study  of  the  citrus  industry. 

IVe  and  Our  Health— \  reel,  silent,  $1.00,  a  third 
grade  unit  record  of  a  feeding  experiment  showing  the 
effect  of  properly  balanced  diet  upon  the  growth  of 
j'oung  white  rats  with  application  to  the  children. 

The  Story  of  a  Wool  Blanket — 1  reel,  silent,  $1.00 
— a  fourth  grade  unit,  which  shows  the  children  going 
through  the  various  steps  in  washing,  carding,  spinn- 
ing, and  weaving  of  a  small  blanket. 

The  Romance  of  Exploration — 3  reels,  silent,  $3.00 
— a  sixth  grade  unit,  showing  the  steps  involved  in 
preparing  this  unit.  The  development  of  language, 
spelling,  and  arithmetic.  The  writing  and  prepara- 
tion of  an  original  pageant  and  the  record  of  final 
presentation  of  the  pageant  in  the  school  auditorium. 

For  further  information  regarding  terms  of  rental, 
write  directly  to  Harry  H.  Haworth.  Pasadena  Schools, 
1501  East  Villa  Street,  Pasadena.  California. 


QUESTION  BOX  ON  SCHOOL  FILM  PRODUCTION 

IN  THIS  column  last  spring  we  attempted  to  answer 
a  question  concerning  the  importance  and  function 
of  a  haze  filter  with  out-door  Kodachrome  film.  In 
reply  to  this,  Mr.  C.  Edward  Graves,  of  Areata,  Cali- 
fornia, oflFers  the  following  account  of  his  experience, 
which  will  interest  readers  who  have  occasion  to  use 
Kodachrome,  particularly  for  mountain  scenery.  Mr. 
Graves  writes: 

"I  have  been  using  both  movie  and  still  kodachrome 
ever  since  it  first  came  out,  especially  the  35mm  stills. 
In  the  summer  of  1939  I  decided  to  experiment  with 
the  use  of  haze  filters.  I  was  working  in  the  Yosemite 
High  Sierra  that  summer.  I  made  shot  after  shot  with 
both  haze  filter  and  without  filter.  At  the  end  of  the 
season  I  was  so  convinced  that  the  results  of  work  with 
the  filter  were  valueless  that  I  have  discarded  it  ever 
since.  This  last  summer  I  was  with  a  friend  who  kept 
his  haze  filter  on  his  lens  all  the  time,  as  you  suggest. 
I  used  no  filter.  W'e  made  many  similar  shots  from  the 
same  viewpoint.  On  comparing  results  at  the  end  of 
the  summer  even  he  was  convinced  that  the  filter  ac- 
tually spoiled  many  shots  from  a  pictorial  standpoint. 
Of  course  for  aerial  photography  or  in  cases  where  you 
want  clear  definition  above  all  else,  the  filter  helps.  Its 
main  disadvantage  is  that  by  removing  the  haze  which 
is  natural  in  the  high  mountains  and  is  a  definite  part 
of  mountain  scenery,  you  ruin  the  perspective  by  elim- 
inating the  different  planes.  For  instance,  in  a  view 
across  the  canyon  toward  a  distant  cliff,  when  you  use 
the  filter,  the  canyon  walls  and  the  distant  cliff  all 
merge  into  one,  whereas  without  the  filter  the  natural 
haze  in  the  atmosphere  makes  the  canyon  come  forward 
into  the  foreground,  or  rather  into  its  proper  place  in 
the  composition  while  the  cliff  recedes  into  its  proper 
place  in  the  background.  Your  answer  was  therefore 
both  right  and  wrong,  depending  on  whether  you  want 
faithful  and  artistic  pictorial  effects  or  merely  clear 
detail  (which  is  not  natural  in  the  mountains)." 

Are  there  other  readers  who  would  like  to  add  ac- 
counts of  their  experiences  to  this  discussion? 


September,   194} 


Page  259 


Pacific  Northwest  Audio-Visual  Conference 

(Report  submitted  by  Mr.  Curtis  Reid, 
Head,  Department  of  Visual  Instruction, 
Oregon    State    System   of   High   Education) 

The  Third  Pacific  Northwest  Audio-Visual  Educa- 
tion Conference  was  held  in  Portland  on  June  17-18, 
1943,  with  well  known  speakers  from  the  educational 
film  world  and  from  the  radio  industry.  Over  two 
hundred  teachers  and  professional  people  attended  the 
sessions  that  were,  on  this  occasion,  primarily  devoted 
to  the  utilization  of  mechanical  aids  to  teaching.  Among 
those  participating  in  the  program  were  Paul  Cox, 
West  Coast  Representative  of  the  Erpi  Classroom  Films, 
Inc. ;  George  Jennings,  Acting  Director  of  the  Chicago 
Round  Table ;  Glenn  Jones,  Director  of  General  Ex- 
tension, State  College  of  Washington :  Louis  Hill,  Co- 
ordinator. Visual  Aids,  U.  S.  Army ;  Dora  SchelTskey, 
Supervisor  of  Teaching,  Oregon  College  of  Education ; 
and  Kenneth  Wood,  Instructor  in  Speech,  University 
of  Oregon. 

The  conference  was  highlighted  by  an  apparent  dif- 
ference in  ideologies  between  those  representing  the  film 
group  and  thos  engaged  in  radio.  The  former  stressed 
the  need  for  minute  detail  and  meticulous  accuracy  in 
the  presentation  of  historical  material,  while  the  latter 
favored  a  more  dramatic  treatment  of  the  same  material. 
Where  those  in  film  looked  upon  their  medium  as  a 
valuable  teaching  device  in  itself,  the  people  in  radio 
conceived  their  function  to  be  that  primarily  of  the 
stimulation  of  interest  in  a  given  subject  field.  Of  course 
the  two  views  are  not  incompatible.  Certainly  one  can 
see  how  the  differing  emphasis  might  develop  since 
radio  programs  are  devi.sed  for  one  time  use  only,  while 
films  are  frequently  repeated  for  further  study  and  the 
rechecking  for  details  and  ideas. 

Mr.  Wood  opened  the  session  on  "Radio  in  Educa- 
tion" with  a  discussion  of  the  use  of  radio  workshops 
in  the  public  .schools.  While  expressing  the  need  for 
high  quality  productions  for  actual  broadcast,  he  em- 
phasized that  much  can  be  done  in  the  school  with  seem- 
ingly simple  equipment.  Mr.  George  Jennings  reported 
on  the  extensive  activity  in  classroom  use  of  radio  in  a 
large  metropolitan  school  system.  Mr.  Jennings  dis- 
cussed methods  of  collaboration  in  the  planning  and 
executing  of  program  series.  He  emphasized  the  im- 
portance of  giving  assistance  in  utilization  to  the 
teachers  and  enumerated  ways  in  which  it  was  accom- 
pli,shed.  He  expressed  the  need  for  dramatic  and  stimu- 
lating forms  of  presentations  with  prime  emphasis  on 
stimulation  rather  than  concentrated  educational  content. 

During  the  session  on  "Training  with  Sound  Motion 
Pictures,"  Mr.  Hill  reviewed  the  history  of  motion  pic- 
tures in  the  schools  of  the  Pacific  Northwe.st.  Continu- 
ing, he  compared  the  eflfectiveness  of  training  in  the 
armed  forces  through  the  use  of  films  with  that  received 
by  the  army  in  the  last  war.  Mr.  Paul  Cox  talked  on 
the  "Selection  of  Subjects  and  the  Production  of  Edu- 
cational Motion  Pictures."  Problems  met  in  the  fitting 
of  scripts  to  general  curricula,  in  the  filming  of  natural 
science  subjects,  in  expeditions  to  foreign  lands  were 
outlined  . 

(Concluded  on  page  269) 


lew  British  Films 

Include 

FOUR  FEATURES 

WORLD  OF  PLENTY 
SILENT  VILLAGE 

I  WAS  A  FIREMAN 
BEFORE  THE  RAID 
• 

WAR  SHORTS 

and  others 
on 

FARMING  .  .  .  SCIENCE  .  .  . 
HEALTH  .  .  .  INDUSTRY 

Catalog  ISow  Ready 

• 
ALL  FILMS  AVAILABLE  IN  16mm  SOUND 

at  nominal  service  charges 

from 

BRITISH  INFORMATION  SERVICES 

360  North  Michigan  Ave.,  Chicago  1,  111. 

Tel.    Andover    1733 

448  South  Hill  St.,  Los  Angeles  13,  Calif. 

Tel.    Vandike   3171 

30  Rockefeller  Plaza,  New  York  20,  N.  Y. 

Tel.    Circle    6-BlOO 

260  California  Street,  San  Francisco  11,  Calif. 

Tel.    Sutter   6634 

1336  New  York  Ave.,  N.W.,  Washington  5,  D.  C. 

Tel.  Executive  8825 

Or  Any  British  Consulate 


Page  260 


The  Educational  Screen 


NEW  FILMS  OF  THE  MONTH 

As  They  Look  to  A  Teacher  Committee 


Conducted  by  L.  C,  LARSON 

Instructor  in  School  of  Education 
Consultant  in  Audio- Visual  Aids 
Indiana  University,  Bloomington 

Far  Western  States 

(Erpi  Classroom  Films,  Inc.,  1841  Broadway,  New  York 
City)  11  minutes,  16mm  sound.  Sale  price  $50.00  less  10% 
educational  discount.  Apply  to  producer  for  rental  sources. 
Discussion  guide  available. 

In  this  film  relief  maps  show  that  the  Far  Western  states, 
divided  roughly  into  the  Pacific  Northwest  and  Southwest, 
vary  greatly  as  to  climate,  rainfall,  surface,  people,  products, 
and  occupations.  Scenes  of  Hollywood  studios  typify  the 
modernity  of  the  Far  West  while  scenes  of  the  giant  se- 
quoias remind  one  of  the  age  of  the  region.  To  emphasize 
further  the  contrasts  in  this  region,  the  film  shows  Mt. 
Whitney,  highest  point  in  the  United  States,  and  Death 
Valley,  less  than  eighty  miles  away,  the  lowest  point  in  our 
country.  Animated  maps  point  up  the  chief  population 
centers  of  the  Far  West  and  close-ups  of  individuals  reveal 
the  different  racial  stocks  in  this  region. 

After  presenting  an  all-over  view  of  the  region,  the  film 
in  successive  sequences  treats  the  chief  assets  of  the  Pacific 
North  and  the  Southwest.  The  first  deals  with  mining. 
Maps  show  where  the  different  mineral  deposits  are  located. 
Scenes  of  Sutter's  Fort,  of  ghost  towns,  and  of  the  old 
prospectors  panning  gold  are  shown  as  a  contrast  to  the 
modern — though  less  romantic — methods  of  placer  mining. 
The  second  presents  the  forest  of  oil  derricks  in  southwest 
California.  This  sequence  concludes  with  a  map  showing 
the  products  in  which  California  ranks  first  or  very  high. 
The  third  sequence  presents  the  lumbering  industry  of  the 
Pacific  Northwest.  Again  a  map  is  used  to  explain  the 
relation  between  the  mountains  and  the  rainfall  in  the  dis- 
tribution of  timber  lands. 

Diagrams  and  maps  show  that  the  Northwest  leads  in  the 
production  of  apples,  wheat,  and  fish  while  the  Southwest 
produces  more  tropical  fruits  and  vegetables.  Diagrams 
indicate  the  location  of  the  Inland  Empire,  the  San  Joaquin 
Valley,  and  the  Imperial  Valley.  To  provide  irrigation  for 
the  dry  lands  and  to  make  electricity  as  cheap  as  possible, 
huge  dams  have  been  constructed.  Grand  Coulee  Dam  in 
Washington  is  an  example.  The  Far  West  is  also  using 
this  cheap  hydro-electric  power  to  build  its  own  manufac- 
turing and  processing  plants. 

As  a  conclusion,  the  film  presents  two  maps:  one  sum- 
marizes the  wealth  of  the  Far  West  by  showing  the  many 
products;    the    other,    an    animated    map,    illustrates     the 


This  monthly  page  of  reviews  is  conducted  for  the 
benefit  of  educational  film  producers  and  users  alike.  The 
comments  and   criticisms   of  both  are  cordially   invited. 

Producers  wishing  to  have  new  films  reviewed  on 
this  page  should  write  L.  C.  Larson,  Indiana  University, 
Bloomington,  Indiana,  giving  details  as  to  length,  content, 
date  on  which  the  film  was  issued,  basis  of  availability, 
prices,  producer,  and  distributor.  They  will  be  informed 
of  the  first  open  date  when  the  Teacher  Committee  will 
review  the  films.  The  only  cost  to  producers  for  the 
service  is  the  cost  of  transporting  the  prints  to  and 
from  Bloomington.  This  Cost  Must  Be  Borne  By  The 
Producers. 


Assisted  by  CAROLYN  GUSS 
and  VIOLET  COTTINGHAM 
Extension  Division 
Indiana  University,  Bloomington 

products  that  all  regions  exchange,  thereby  emphasizing  the 
interdependence  of  all  six  geographical  and  social  regions 
of  the  United  States. 

Committee  Appraisal:  One  of  a  series  of  six  films  which 
deal  with  the  geographically  and  culturally  related  regions 
of  the  United  States.  The  film  gives  a  good  over-all  picture 
of  the  natural,  industrial,  and  human  resources  of  the  Far 
Western  States.  Teachers  will  find  the  series  to  be  excellent 
films  for  use  in  classes  in  geography  and  social  studies. 

South  of  the  Border 

(Office  of  the  Coordinator  of  Inter-American  Affairs, 
444  Madison  Avenue,  New  York  City)  40  minutes,  16mm. 
sound,  kodachrome.  Produced  by  Walt  Disney  and  his 
staff.  Apply  to  distributor  for  a  list  of  depositories  and  terms 
governing  purchase  of  prints. 

The  film  follows  Walt  Disney  and  his  crew  on  a  tour  of 
South  and  Central  America.  Their  impressions  and  ex- 
periences as  they  travelled  from  country  to  country  are 
recorded  through  live  action  and  cartoons.  Their  first  stop 
was  Brazil's  beautiful  capital,  where  Joe  Carioca,  the  parrot 
who  is  a  figure  of  Brazilian  comedy,  joined  the  other  Disney 
creations.  From  there,  they  went  to  Montevideo  and  then 
to  Buenos  Aires,  where  they  took  time  off  to  go  to  an 
estancia  for  a  barbecue  and  an  opportunity  to  see  some  of 
the  native  Argentine  dances.  They  flew  over  the  Andes 
to  Santiago,  Chile,  and  from  there  up  the  west  coast  through 
Peru,  Colombia,  Bolivia,  and  Venezuela.  During  all  this, 
they  found  enough  material  for  numerous  drawings,  sketches 
and  cartoons.  Amusing  sequences  show  Donald  Duck  at  Lake 
Titicaca  and  Pluto  in  the  Argentine,  where  he  learns  the  in- 
tricacies of  a  gaucho's  wardrobe.  After  a  visit  to  Mexico  the 
film  ends  with  bewildered  customs  officials  looking  through 
Indian  blankets,  sketches,  pottery,  silver,  rugs,  and  scores  of 
other  souvenirs  which  were  brought  up  from  the  countries 
"South   of   the  Border." 

Committee  Appraisal:  The  film  is  essentially  a  Walt 
Disney  travelogue  which  illustrates  his  ability  to  create 
animated  cartoons  that  portray  the  salient  factors  of  a 
situation.  It  heightens  an  understanding  of  an  appreciation 
for  the  people  and  customs  of  South  America.  The  film 
is  excellent  for  art  classes  and  general  assembly  programs 
both  on  the  elementary  and  high  school  level  and  as  an 
entertainment  feature  for  adult  social,  cultural,  and  business 
groups. 

Food — Weapon  of  Conquest 

(Educational  Film  Library  Association,  45  Rockefeller 
Plaza,  New  York,  20,  New  York)  20  minutes,  16mm.  sound 
Sale  price  $35.  Apply  to  E.  F.  L.  A.  for  rental  sources. 
Discussion   guide  available. 

Opening  scenes  contrast  American  housewives  carefully 
selecting  proper  foods  from  well-stocked  grocery  shelves 
with  starving  Europeans  suffering  in  bread  lines  for  the 
meager  dole  which  might  fall  their  lot.  Allied  leaders  are 
shown  discussing  the  problem  of  providing  for  an  equitable 
distribution  of  food  among  the  Allies.  Cargo  ships  export 
food-stuffs  from  America  to  Russia  and  Britain.  In  addition 
to  the  fact  that  America  must  contribute  to  providing  food 
for  other  countries,  the  film  emphasizes  that  Americans 
must  be  well  nourished  and  that  huge  fields  of  Canadian 

{Contiyiued  on  page  262) 


September,   1943 


Page  261 


This  new  sound  motion  picture  meets  an  important 
need  of  your  schools  and  your  community 


Never  before  has  a  knowledge  of  electricity  been  so 
important  to  every  American. 

It  is  doing  hundreds  of  new  and  important  jobs  in 
new  ways,  for  the  armed  forces  and  civilians.  It  is 
serving  us  on  land  and  sea  and  in  the  air,  in  homes 
and  factories  and  on  farms. 

In  regular  and  adult  classes,  schools  are  providing 
for  hundreds  of  thousands  of  men  and  women  and 
boys  and  girls  who  are  studying  electricity,  to  help 
them  do  their  jobs  better,  to  prepare  them  for  army 
or  navy  or  industry. 

They  all  want — and  need — more  than  simple 
instruction  on  common  uses  of  electricity.  They 
want  to  know  the  fundamental  facts  on  which  these 
uses  are  based — the  theory  and  principles,  as  well  as 
the  practical  applications. 

Then,  when  the  occasion  arises,  they  can  apply 
this  knowledge  to  new  situations — they  can  figure 
things  out  for  themselves.The  most  practical  knowl- 
edge they  can  get  is  a  sound  understanding  of  theory. 

That  is  what  this  film  gives  them. 

The  basic  facts  are  all  there,  told  in  words  and 
animated  drawings,  with  a  clarity  and  effectiveness 
that  cannot  be  achieved  except  through  this  motion 
picture  technique. 

"What  is  Electricity"  is  available  on  both  16  mm 


"What  is  Electricity"  makes  extensive  use  of  animated 
drawings.  By  this  method  relatively  complex  phenomena 
can  be  expressed  clearly.  At  the  same  time  the  motion 
itself  holds  student  interest  to  a  degree  that  would  be 
impossible  with  a  static  diagram. 

and  35  mm  film.  It  is  loaned  free  to  schools,  or  prints 
can  be  purchased  at  small  cost  if  you  wish  to  add  it 
to  your  permanent  film  library. 

Write  to  School  Service,  Westinghouse  Electric  & 
Manufacturing  Co.,  306  Fourth  Ave.,  P.  O.  Box 
1017,  Pittsburgh  (30),  Pa. 

W^stlndiouse 

PLANTS  IN  25  CITIES  CJ  Off II 


'  Offices  EVERYWHERE 


Page  262 


The  Educational  Screen 


16  mm.  SOUND  FILMS  on  the 
UNITED  NATIONS  AT  WAR 


The  College  Film  Center  wishes  to  announce 
the  addition  to  its  library  of  four  new  feature 
length  films  released  by  the  British  Ministry 
of  Information. 

The  World  of  Plenty  45  min.  Service  charge  $1.50 

The  Silent  Village  35  min.  Service  charge  $1.50 

I  Was  a  Fireman  48  min.  Service  charge  $1.50 

Before  the  Raid  45  min.  Service  charge  $1.50 

We  also  have  all  the  releases  of  the  U.  S.  Office 
of  War  Information,  National  Film  Board  of 
Canada,  and  the  British  Ministry  of  Informa- 
tion and  hundreds  of  films  designed  for  class- 
room use. 

Tor  further  information  and  catalogs  write 


THE  COLLEGE  FILM  CENTER 


84  EAST  RANDOLPH  ST. 


CHICAGO.  ILLINOIS 


THEIR  LOVE  IS  A 
PEOPLE'S  SAGAI 


COLUMBIA  FiaURi 


*  Washington 

*  Jefferson 

*  Patrick  Henry 

*  Lafayette 
*V on  Steuben 

in 


AMERICA'S  FIRST  BATTLE 

FOR  FREEDOM 

A  GREAT  HISTORICAL  DRAMA 

EDUCATIONAL  —  ENTERTAINING 

For  Schools  and  Colleges  Ererywhere 

OUTSTANDING 
16MM  SOUND 
FILMS 


WHOLESOME 
FAMILY  FILMS 

SEND  FOR  BIG  1944  CATALOGUE 


^  Grand 

HUMAN 

ADVENTURE 

in  the 

NATION'S 

CAPITAL 


0 


«sSfe 


AdvBniurBin 
yifnshmgtan 

-ERBERT  """'"'' VIRGINIA 

MARSHALL  BRUCE 

A      COLUMN!  A      PICTURE-,' 


wheat  must  be  converted  to  meet  the  need  for  vegetables, 
dairy  products,  fruit,  and  eggs. 

Both  Hitler  in  Germany  and  Mussolini  in  Italy  are  shown 
stressing  to  their  people  the  importance  of  food  and  urging 
them  to  greater  production.  Germany's  recognition  of  the 
importance  of  food  as  a  weapon  is  revealed  by  her  factories' 
converting  foods  into  explosives  and  oils,  the  citizenry's 
depriving  itself  of  foods  needed  for  soldiers  and  war  ma- 
terial, the  introduction  of  soybeans  as  a  substitute  for  fatty 
foods,  and  Hitler's  personal  concern  for  the  palatability  of 
ersatz  rations.  An  animated  map  shows  how  Germany 
plans  to  be  a  great  industrial  center  with  the  rest  of  Europe 
as  her  gigantic  farm.  Not  only  in  Germany  but  also  in 
occupied  countries  do  the  Germans  treat  food  as  a  weapon. 
The  French  are  offered  jobs  and  foods  for  work  in  Germany. 
For  those  who  are  loathe  to  leave  France  a  system  of  priori- 
ties, depending  upon  usefulness  to  the  Reich,  is  set  up. 
Similar  conditions  prevail  in  Greece.  The  closing  scenes 
show  grain  elevators,  trains,  and  ships  on  the  Great  Lakes 
of  North  America;  activities  of  farms  and  industrial  areas  of 
England;  a  submarine  attack  on  a  British  ship;  and  a 
British  canteen  truck  providing  food  and  relief  after  a  raid. 
A  note  of  optimism  is  sounded  in  the  flashes  of  the  two 
North  .'\mcrican  capitals — Washington  and  Ottawa — and  of 
prosperous  farm  scenes  and  a  loaded  cargo  vessel. 

Committee  Appraisal:  This  politico-economic  treatment 
of  the  importance  of  food  to  the  war  effort  is  recommended 
for  use  in  classes  in  economic  geography,  social  studies, 
home  economics,  and  general  science  and  in  assembly 
programs,  adult  groups,  and  forums.  Some  important 
generalizations  which  may  be  derived  from  the  film  are 
that  we  of  the  Western  Hemisphere  cannot  waste  food  while 
Europeans  are  starving,  that  Germany  has  for  years  been 
safeguarding  herself  against  a  food  shortage,  that  the  Nazis 
have  been  using  food  as  a  powerful  weapon  to  win  over 
the  conquered  peoples,  that  many  of  the  Allied  Nations 
have  never  been  able  to  produce  their  entire  food  supply, 
and  that  upon  the  United  States  rests  a  major  responsibility 
for  providing  food.  Many  facets  of  the  problem  are  pre- 
sented at  the  expense  of  an  adequate  development  of  rela- 
tionship between  sequences. 

Wings  Up 

(Office  of  War  Information,  Washington,  D.  C.)  11  min- 
utes, 16mm.  sound.  Produced  by  the  U.  S.  Army  Air 
Forces.  Apply  to  distributor  for  a  list  of  depositories  and 
terms  governing  purchase. 

The  film  opens  showing  a  lost  bomber  flying  through  the 
skies  and  the  members  of  the  crew  looking  anxiously  and 
accusingly  at  the  navigator  who  has  cracked  under  the 
strain  and  is  unable  to  chart  the  course  home.  To  minimize 
the  possibility  of  human  failure,  the  narrator,  Clark  Gable, 
asserts  that  a  human  X-ray — the  Officers'  Candidate  School 
of  the  Army  Air  Forces — ferrets  out  only  the  best  of  the 
best  to  act  as  leaders  of  men.  By  diagrams  and  quick  se- 
quences, the  film  explains  that  of  1,000  enlisted  men,  only 
twenty-three  pass  the  rigid  qualifiying  tests. 

Basing  their  actions  on  the  theory  that  only  those  who 
can  obey  are  fit  to  lead,  the  officers  subject  the  underclass- 
men to  seemingly  embarrassing  and  unreasonable  treatment. 
In  this  and  other  ways,  any  emotional  instability  is  dis- 
covered here  rather  than  in  a  critical  situation — the  film 
flashes  back  to  the  harried  navigator  who  failed. 

During  the  twelve-weeks'  course,  thirty-three  subjects  are 
covered — eight  of  them  military  and  the  rest  academic. 
Many  of  the  subjects  requiring  a  full  year  at  West  Point 
in  peace  times  are  completed  in  twelve  weeks  at  OCS. 

The  film  depicts  a  typical  day:  up  at  5:30,  breakfast  at 
6:10,  classes  all  morning  and  most  of  the  afternoon,  self- 
directed  calisthenics  at  2:25,  a  mile  and  a  half  run  three  days 
a  week,  and  the  obstacle  course  the  other  three  days.  The 
evening  meal  is  over  at  6:20  and  the  men  attend  classes 
or  study  until  11:00.  Full  military  retreat  lasting  two  hours 
is  held  four  times  each  week.  At  these  ceremonies,  the  un- 
derclassmen must  stand  at  rigid  attention  for  thirty  minutes. 

The  final  sequence  presents  the  graduating  class  on  pa- 


September,   1945 


Page  263 


First  Time  in  ISmm.  Sound  Filmi 


SCATTERGOOD  BAINES  Features 


Three  Feotures  in  Series: 

SCATTERGOOD   BAINES 

SCATTERGOOD    PULLS  THE   STRINGS 

SCATTERGOOD  MEETS  BROADWAY 

No  location  approval  needed. 


Among  the  many  outstanding  Major  Pro- 
duction Features  in  our  Library  are: 

•  SPRING  PARADE 

Deanna  Durhin,  Roljert  Cunimings,  Mischa 
A  tier 

ELEPHANT  BOY 

Starring  Sabu 

•  LITTLE  WOMEN 

Katherine  Hepburn,  Joan  Bennett, Paul  Lukas 

SCARLET  PIMPERNEL 

Leslie  Howard  and  Merle  Oberon 

•  TOM  BROWN'S  SCHOOLDAYS 

Sir  Cedric  Hardwicke,  Freddie  Bartholomew 

•  HOLD  THAT  GHOST 

Bud  Abbott,  Lou  Costello,  The  Andrews  Sisters 

•  MOTHER  CAREY'S  CHICKENS 

Anne  Shirley,  Ruby  Keeler,  James  Ellison, 
Fay  Bainter,  Frank  Morgan 

•  Location  approval  required 


America's    Favorite    Character   of    fiction    and    radio, 
featuring: 

GUY  KIBBEE 

Send  for  Catalog  at  3000  Entertainment  and  Educational  Subjects. 
25  West  45^h  Street        Dept.  E-9        New  York  19.  N.  Y. 


radc.  After  twelve  weeks  of  concentrated  eflfort,  strict  dis- 
cipline, and  hard  work,  the  men  graduate  and  receive  the 
rank  of  second  lieutenant  in  the  L'nited  States  Army  Air 
Forces.  The  film  closes  with  General  Arnold  at  the  gradua- 
tion ceremonies  and  Clark  Gable  asking  us  to  "Keep  'Em 
Flying." 

Committee  Appraisal:  Thi.s  film  presents  in  an  interesting 
fashion  some  of  the  more  dramatic  phases  of  the  curricular  and 
extra-curricular  training  given  men  in  the  Officers'  Candidate 
School  of  the  Army  Air  Forces  at  Miami  Beach,  Florida.  As  a 
picture  of  O.  S.  C.  the  film  is  not  too  representative  of  the 
complete  training  program  since  greater  emphasis  is  placed 
on  the  physical  and  military  aspects  rather  than  on  the  im- 
portance of  the  thirty-three  classes  which  men  must  attend 
all  morning  and  most  of  the  afternoon.  It  should  have  a 
great  deal  of  appeal  in  community  gatherings  where  mem- 
bers have  boys  in  attendance  at  or  graduated  from  O.  C.  S. 
It  should  also  be  popular  and  enlightening  in  pre-induction, 
aeronautics,  and  guidance  classes.  Many  ideas  are  presented 
verbally  with  no  accompanying  pictorial  representation. 

This  Is  the  Bowery 

(Teaching  Film  Custodians,  Inc.,  25th  West  43rd  Street. 
N'ew  York,  New  York)  11  minutes',  16mm.  sound.  Produced 
by  M.  G.  M.  Lease  price  for  three  years,  $25.  Apply  to  dis- 
tributor for  rental  sources. 

.After  scenes  of  New  York's  Bowery  where  20,000  men  are 
cast-ofis,  the  film  presents  the  problem  of  the  Bowery  through 
a  selected  case  study  of  one  subject  who,  on  a  cold  winter 
morning  in  1941,  is  shown  shuffling  toward  an  oil  drum  full  of 
burning  papers  where  other  derelicts  are  trying  to  keep  warm. 
After  warming  his  hands,  the  subject  moves  on  down  the  street 
toward  a  restaurant  which  he  cannot  enter  because  he  has  no 
money.  He  passes  an  alley  where  other  men  are  rummaging 
through  garbage  cans  for  food.    The  many  unattractive,  cheap 


hotels  or  flop-houses  where  men  must  resort  for  sleep  are 
shown.  .As  the  film  presents  the  men  sleeping  in  doorways 
and  on  benches,  the  commentator  summarizes  this  side  of  the 
Bowery  as  the  "failure's  last  mile." 

The  subject,  cold,  hungry,  and  "broke,"  wanders  into  the 
Bowery  Mission  for  lack  of  anything  better  to  do.  The  Mission 
leader  sees  him  and  takes  him  in  tow.  .'^fter  following  the 
mission  leader  to  the  kitchen  where  he  is  fed  wholesome  food,  the 
derelict  is  surprised  to  find  there  are  no  prayers  and  no  com- 
ment concerning  his  soul.  Scenes  of  the  Mission  include  men 
washing  their  clothes,  having  woolen  things  fumigated,  bathing, 
and  shaving. 

Next,  the  men  are  shown  asleep  in  clean  and  comfortable 
beds.  In  the  morning,  the  men  repair  their  shoes,  mend  their 
clothes,  and  make  ready  to  start  anew.  The  subject,  a  new- 
comer to  the  Mission  is  taken  to  see  the  head,  himself  a  re- 
claimed man.  While  the  subject  waits  patiently  for  the  long- 
delayed  sermon,  the  leader  asks  no  reason  for  his  downfall  but 
urges  the  man  to  try  again.  The  man  is  last  seen  decently 
dressed  and  with  a  suitcase  of  personal  belongings  on  his  way 
uptown  to  try  again. 

As  a  conclusion,  the  scene  shifts  again  to  the  Bowery  Mission 
where  another  failure  enters  and  is  taken  in  hand  by  the  leader. 
As  the  film  closes,  the  commentator  points  out  that  if  one  man 
out  of  one  hundred  can  find  his  way  back,  the  Mission  has 
succeeded. 

Committee  Appraisal:  John  Nesbitt  in  this  "Passing  Parade" 
film,  in  introducing  a  case  study  of  a  subject  found  in  the  New 
York  Bowery,  presents  in  a  sympathetic  fashion  conditions  under 
which  men  who  have  failed  live  in  the  slums  of  major  cities. 
The  film  can  serve  as  a  basis  for  discussions  concerning  the 
problems  which  face  human  derelicts  and,  more  specifically,  a 
role  of  functional  religion  in  rehabilitating  these  social  out- 
casts. The  film  should  be  especially  useful  for  either  school 
or  adult  groups  studying  social  problems  characteristics  of 
metropolitan  areas. 


Page  264 


The  Educational  Screen 


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Russians  at  War 


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MEET  DR.  CHRISTIAN  (8)  )  Jean  Hersholt  plays  a  lov- 
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MELODY    FOR    THREE    (8)    )    ,hese   features. 

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please  all  ages. 

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Budget  Curtailment  Eliminates  OWI  Film  Production 

All  film  production  by  the  domestic  motion  picture 
bureau  of  the  Office  of  War  Information  was  abolished 
by  Congressional  action  in  July,  which  allocated  only 
$50,000  for  this  division  instead  of  the  $1,200,000  rec- 
ommended by  the  budget  bureau,  and  limited  its  ac- 
tivities to  that  of  liaison  office  between  the  Government 
and  the  motion  picture  industry.  Last  year  the  motion 
picture  bureau  received  $1,300,000  to  carry  on  its  ac- 
tivities . 

Following  this  action  came  the  resignation  of  Lowell 
Mellett,  who  had  been  chief  of  the  domestic  motion  pic- 
ture bureau  since  OWI  was  formed  over  a  year  ago. 
Mr.  Mellet  has  returned  to  his  duties  as  a  member  of 
the  President's  administrative  staff.  His  successor  had 
not  been  announced  at  this  date.  The  new  head  of 
the  Domestic  Operations  Branch  of  the  OWI  is  Palmer 
Hoyt,  newspaper  publisher. 

The  budget  cut  not  only  halts  the  bureau's  film  pro- 
duction program  but  is  expected  to  curtail  the  extensive 
16mm  distribution  system  organized  under  the  direction 
of  Paul  Reed,  who  resigned  as  head  of  the  Educational 
Division  on  August  15th.  and  is  now  with  the  U.  S. 
Office  of  Education,  working  with  Floyde  Brooker  on 
the  training  film  project. 

Reagan  Head  of  OWI  Educational  Division 

Mr.  C.  R.  Reagan  has  been  appointed  Head  of  the 
Educational  Division,  Bureau  of  Motion  Pictures,  Of- 
fice of  War  Information,  succeeding  Paul  Reed. 

Mr.  Reagan  is  thoroughly  qualified  to  carry  on  the 
work,  having  been  largely  responsible  for  the  successful 
distribution  of  the  OWI  16mm  films.  As  chairman  of 
the  Committee  of  Seventeen  an  organization  of  edu- 
cators, producers  and  dealers,  which  was  forined  in 
1942  to  cooperate  with  the  Office  of  the  Coordinator  of 
Government  Films — and  as  Office  of  War  Information 
Field  Advisor  for  the  Southeast,  Southwest  and  Pacific 
Coast,  he  has  worked  for  the  widest  possible  circulation 
of  these  films.  Mr.  Reagan  is  also  past  president  of  the 
National  Association  of  Visual  Education  Dealers. 

Combat  Films  Revolutionize  R.A.F.  Gunnery  Tactics 

Techniques  of  air  attack  are  being  revolutionized  at 
a  new  R.A.F.  school  in  England  where  films  of  air  kills 
— made  in  actual  combat — help  students  polish  up  their 
gunnery.  The  ])upils  are  the  cream  of  the  R.A.F.'s  air 
gunners  and  fighter  pilots.  The  pictures  are  made  by 
a  tiny  camera  which  is  set  in  the  starboard  wing  of  the 
majority  of  Britain's  fighter  planes.  Set  in  motion  auto- 
matically when  the  plane's  guns  open  fire,  the  camera 
takes  16  pictures  a  second. 

The  morning  after  he  does  a  "camera  shoot,"  the 
pupil  at  the  school  goes  to  the  assembling  room,  where 
his  film  is  run  off  for  criticism  by  the  other  members  of 
the  class.  Later,  the  gunner  can  run  it  off  as  often  as 
he  likes  and  work  out  the  cause  of  his  errors. 


d 


September,   1943 


Page  265 


JVotsi 


New  USOE  Visual  Units 

The  U.  S.  Office  of  Education  received  an  appropria- 
tion of  two  million  dollars  to  continue  the  production  of 
visual  aids  for  vocational  training  for  vi^ar  workers, 
under  the  direction  of  Floyde  E.  Brooker.  Of  this  new 
series,  105  films,  dealing  with  Aircraft,  Shipbuilding 
and  Machine  Shop  work,  are  now  in  production.  Other 
films  to  follow  will  cover  the  fields  of  electronics,  opti- 
cal work,  welding,  farm  skills,  and  foremanship.  Film- 
strips  are  also  being  made  as  a  follow-up  to  the  motion 
pictures. 

Distributors  are  invited  to  bid  on  the  distribution  of 
these  visual  units,  as  the  contract  with  Castle  Films 
expires. 

Dr.  Klinefelter,  assistant  to  the  Commissioner  of 
Education,  reports  that  17,137  prints  of  the  original  48 
subjects  have  been  sold  to  schools,  industries,  and  allied 
nations ;  in  addition,  the  armed  forces  have  produced 
9,492  prints  from  duplicate  negatives. 

The  Office  of  Education  estimates  that  almost  300 
films  in  this  new  series  will  be  ready  by  November  1st. 
The  production  program  calls  for  the  filming  of  380 
new  subjects  during  the  fiscal  year  beginning  July  1st. 

Deposit  of  U.  S.  Films  in  the  Library  of  Congress 

The  Library  of  Congress  announces  that  it  has  re- 
quested U.  S.  motion  picture  producers  to  deposit  in  the 
Library  104  films  and  portions  of  films  released  in  the 
period  from  May  1,  1942  to  April  30,  1943.  These 
films  are  to  be  deposited  under  an  agreement  between 
the  Library  of  Congress  and  the  motion  picture  pro- 
ducers made  in  April  1942.  Under  the  terms  of  this 
agreement,  the  Library  of  Congress  is  to  select  from 
among  the  films  copyrighted  in  any  given  year  pictures 
having  documentary  significance  or  significance  as 
records  of  the  time. 

The  Library  is  compelled  to  restrict  its  selection  of 
films  because  it  lacks  adequate  present  facilities  for  the 
screening,  cataloging  and  shelving  of  great  quantities 
of  motion  pictures.  Eventually  it  is  hoped  that  the 
Library  will  be  able  to  add  to  its  collections  all  signi- 
ficant motion  pictures,  but  until  the  neces.sary  funds 
can  be  made  available,  the  Library's  film  activities  must 
be  limited  in  scope.  A  three-year  grant  made  in  1942 
by  the  Rockefeller  Foundation  enables  the  Library  to 
employ  the  Museum  of  Modern  Art  in  New  York  as 
its  agent  to  screen  new  films  and  provide  temporary 
storage  for  the  reels  selected. 

It  cannot  be  too  emphatically  stated  that  the  Library's 
selection  of  films  is  in  no  sense  based  upon  an  attempt 
to  secure  the  "best"  films  released  during  the  year. 
Broadly  speaking,  the  Library  attempts  to  choose,  from 
each  year's  output,  those  films  which  will  provide  future 
students  with  the  most  truthful  and  revealing  informa- 
tion the  cinema  can  provide  as  to  the  life  and  interests 
of  the  men  and  women  of  the  period.  Films  illustrating 
outstanding  technical  or  artistic  advances  in  the  art  of 
the  motion  pictures  are  also  preserved. 


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Used  By  the  Armed  Forces 

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ond  other  features 


This  new  easier-to-operatc 
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Pre-Focus  Socket  Aligns 
Filament  on  Opticol  Axis 

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Developed  to  meet  today's  needs 
in  training  centers  and  schools. 
Cooler-operating  .  .  .  for  long 
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Has  powerful  but  quiet  high 
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Page   266 


The  Educational  Screen 


BRING  WORLD  BATTLEFIELDS  to 
LIFE   in    YOUR    CLASSROOMS.. 


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reali»in  of  peoples,  customs,  arts,  crafts. 
scenic  beanty.  Over  176  colorful  subjects, 
recorded  in  the  16  M.M.  Sound.  10,  12.  30, 
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Just  Added  to  Our  Rental  Library 

"Our  Town" — 16mm  sound — 9  reels — Based  on 
Major    Thornton    Wilder's    Pulitzer    Priie    Play. 
And  .  .  .  "Children    of   the    Wild" 
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EDUCATIONAL     SCREEN 

Tennessee  Plans  Annual 
Visual  Education  Conferences 

Plans  are  now  in  the  making  for  Tennessee's  third 
annual  series  of  audio-visual  aids  conferences  to  be  held 
during  the  week  of  October  11.  Probably  six  one-day, 
two-session  conferences  will  be  held  at  various  points 
across  the  state,  the  major  part  of  the  program-planning 
and  promotion  being  handled  by  the  Univer,sity  of  Ten- 
nessee Division  of  University  Extension. 

Visiting  speakers  and  discussion  leaders  will  travel 
from  one  conference  to  the  other  and  include  Roger 
Albright  of  Teaching  Film  Custodians,  C.  R.  Reagan 
of  the  O.W.I.  Motion  Picture  Bureau,  Frank  L.  Rouser 
of  Erpi  Classroom  Films,  and  Oscar  E.  Sams,  Jr.  of  the 
University  of  Tennessee  Division  of  University  Exten- 
sion. 

Topics  for  discussion  at  the  conferences  will  be  the 
effective  use  of  teaching  films  in  the  classroom,  recent 
trends  in  educational  film  production,  fighting  the  war 
with  films  on  the  home  front,  and  problems  concerned 
with  the  administration  of  an  effective  visual  education 
program.  Some  of  the  time  at  each  session  will  be  de- 
voted to  the  screening  of  new  teaching  films  and  war 
information   subjects. 

Visual  Education  Continues  to  Function 
at  Chinese  University 

Through  its  program  of  visual-audio  education,  the 
University  of  Nanking,  now  in  exile  in  Chengtu,  has 
been  an  influential  factor  in  building  the  morale  of  the 
Chinese  people  and  welding  them  into  a  United  front. 
This  work,  which  is  under  the  college  of  Science,  was 
started  in  1930. 

The  University's  Department  of  Educational  Cine- 
matography has  produced  100  reels  of  16mm  film,  many 
of  which  have  been  circulated  in  the  United  States, 
England  and  France.  Subject  matter  of  these  films  have 
much  to  do  with  the  promotion  of  cultural  relations. 
British  and  American  documentary,  classroom  and  train- 
ing films  are  circulated  throughout  many  provinces.  Fort- 
nightly outdoor  showings  to  the  public,  consisting  of 
assorted  silent  Chinese  films  with  commentation,  back- 
ground music  and  sound  effects,  are  also  part  of  this 
Department's  program.  Projection  is  made  on  a  silk 
screen,  which  makes  the  picture  visible  from  both  sides. 
x\udiences  range  from  4,000  to  10,000  each  time.  Edu- 
cational films  correlating  with  the  curriculum,  are  used 
regularly  in  the  University  classes.  Special  showings 
are  given  in  other  institutions  upon  request. 

Another  function  of  the  visual  department  is  th.e 
training  of  students  for  projectionists,  radio  operators, 
and  instructors   of  visual   education. 

The  College  of  Science  maintains  the  National  Micrc> 
film  Library  in  Chungking  for  the  International  Cul- 
tural Service  of  China.  About  400  subjects  of  micro- 
film have  been  received  from  the  United  States  and  are 
put  into  circulation.  The  College  also  manufactures  a 
microfilm  reader  in  big  quantities  which  they  supply  to 
branch  libraries  all  over  the  country. 

The  University  is  working  constantly  to  extend  the.ir 
audio-visual  services. 


September,   1943 


Page   267 


Recommended  Procedure  for  Schools  Desiring 
New  Projection  Equipment 

The  Division  of  Visual  Aids  for  War  Training,  U.  S. 
Office  of  Education,  has  issued  a  memorandum  on  "Sug- 
gestions to  Schools  in  Obtaining  Projection  Equipment 
and  Accessories."  The  War  Production  Board  requires 
a  high  priority  rating  on  all  projectors  sold  to  schools. 
Some  manufacturers  of  projection  equipment  have  been 
recently  granted  permission  "to  manufacture  and  sell 
motion  picture  16mm  projectors  to  .  .  .  War  Training 
Schools."  If  the  manufacturer  indicates  that  the  equip- 
ment desired  can  be  supplied  to  a  school  with  a  suffi- 
ciently high  priority,  a  copy  of  the  PD-l-A  form  should 
be  obtained  from  the  local  War  Production  Board  and 
completed  with  a  certification  that  the  equipment  will 
be  used  for  pre-induction  courses,  war  production  train- 
ing, or  for  the  showing  of  government  films  related  to 
the  war  effort. 

To  obtain  parts,  lamps  and  accessories  for  projection 
equipment,  obtain  from  the  local  Board  a  copy  of  the 
CMP  Reg.  5A,  which  will  explain  how  to  proceed  in 
assigning  your  purchase  order  the  proper  preference 
rating.  Schools  and  colleges  are  specifically  included 
in  the  list  of  governmental  agencies  which  will  be  en- 
titled to  use  a  blanket  priority  rating  of  AA-2X,  for 
maintenance,  repair,  and  operating  supplies. 

Educational  institutions  are  urged  to  maintain  pe- 
riodic contact  with  their  local  War  Production  Board, 
since  regulations  are  altered  from  time  to  time  as  chang- 
ing situations  demand. 

NAVED  Board  Meeting 

A  report  by  Mr.  J.  M.  Stackhouse,  President  of  the 
National  Association  of  Visual  Education  Dealers,  in 
the  July  number  of  NAVED  News,  summarizes  the 
more  important  matters  discussed  on  the  first  day  of  the 
meeting  of  the  acting  NAVED  officers  and  directors  in 
Washington  June  13-15.  At  that  time  it  was  agreed  to 
have  the  same  officers  and  directors  continue  until  the 
next  annual  meeting,  scheduled  to  coincide  with  the 
next  meeting  of  OWI  distributors,  when  the  regular 
election  of  NAVED  officers  can  proceed.  (This  meet- 
ing was  held  this  month.) 

The  question  of  what  the  armed  services  will  do  with 
their  visual  equipment  when  demobilization  comes,  was 
gone  into  and  a  committee  appointed  to  confer  with  pro- 
jector manufacturers  and  government  agencies  in  an 
effort  to  work  out  some  plan  for  the  post-war  disposal 
of  these  surplus  materials. 

On  the  following  two  days,  representatives  from  sev- 
eral Government  agencies  met  with  the  group,  offering 
helpful  information  and  suggestions.  Among  them  were 
Lt.  Francis  Noel,  Training  Aids  Section.  Utilization 
Unit,  Bureau  of  Navy  Personnel.  Capt.  Walter  Bell, 
Division  of  Plans  and  Policies,  Headquarters  U.  S. 
Marines,  Mr.  Ford  Lemler  and  Mr.  Ted  Karp,  of  the 
U.  S.  Office  of  Education,  Mr.  Paul  Reed.  Office  of 
War  Information,  Mr.  K.  P.  Vinsel  and  Mr.  George 


Announcing 
a  New  Series  of  Six 

VIATION  CLASSROOM 
FILMS 

entitled 

BRAY-OTIS  SERIES 

Scripts  by 
ARTHUR  S.  OTIS 
Co-Author:  Pope-Otis  Text  Book 

"ELEMENTS     OF     AERONAUTICS" 


Write  for  complete  catalogue  of 

AVIATION    CLASSROOMS    FILMS 

Especially  produced  for  the  aviation  courses 
now  being  given  in  the  secondary  schools 

BRAY   PICTURES    CORPORATION 
729  Seventh  Ave.,  New  York  19,  N.  Y. 


IF  THE  THOUSANDS  OF 


PROJECTORS 

in  service  all  over  the  World 
could  be  lined  up  for  inspection — 

like  the  MARINES,  they  would  show  signs  of 
service,  but  inwardly  be  ready  for  immediate 
action  to  show  the  boys,  whereever  they  may  be, 
scenes  of  the  Land  of  Freedom  and  Freedom's 
mode  of  life  for  which  they  are  fighting. 

The  HOLMES  PROJECTOR  COMPANY,  oper- 
ating 400%  over  1941  production,  is  giving 
Government  requirements  the  entire  output  for 
the  war's  duration.  We  will  of  course  do  our 
utmost  to  service  and  supply  the  many  customers 
and  dealers  with  parts  to  keep  their  Holmes 
16mm  or  35mm  Sound-on-F!lm  Projectors  in  first- 
class  running  order  for  civilian  use. 

HOLMES  PROJECTOR  COMPANY 

1813  Orchard  Street  CHICAGO 


Page  268 


The  Educational  Screen 


118 
BIRD  PICTURES 

in 

KODACHROME  COLOR 

sold  either  in 
2  X  2"  Slides  or  Filmstrips 
Descriptive  manual  supplied 

Write  for  Catalog 

COLORCRAFT  STUDIOS 

2174  N.E.  Multnomah      Portland  12,  Oregon 


AVAILABLE  FOR  IMMEDIATE  DELIVERY 

We  have  on  hand  a  few  Ampro,  Bell  Howell,  and 
a  few  Victor  and  DeVry  16mm.  sound  projectors 
carrying  new  guarantees.  Write  for  description  and 
quotation.  We  also  have  a  complete  stock  of  screens 
of  all  sizes,  projection  lamps,  and  other  accessories 
necessary  to  carry  on  your  visual  education  pro- 
gram.  Write  today. 

NATIONAL  CAMERA  EXCHANGE  ^  Sr 

86  South  Sixth  St.  Minneapolis  2,  Minn. 


■~" 

FILM   PROTECTION 

FOR    MOVIE    FILM 

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against 
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o 
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RENT  16mm  SOUND  FILMS 
at  LOW  COST 

Also  Silent  Films 

Jlate  (leleai.el 

All  films  carefully  selected 
to  ensure  school  approval. 

Write  Dept.  E  for  Free  Catalog 

UNION  COUNTY  FILM  SERVICE 


128  Chestnut  St. 


Roselle  Parli.  N.  J. 


OWI's  Motion  Picture  Program 

(Concluded  jrom  page  235) 

list  of  fihns  of  all  Government  agencies  and   specific 
information  about  how  these  films  could  be  obtained. 

Statistical  Control  and  Evaluation 

Provision  was  made  in  the  organization  and  working 
plan  of  the  Division  for  adequate  statistical  control  and 
constant  evaluation  of  all  phases  of  the  program. 
Evaluation  was  conceived  as  a  functional,  integral,  and 
essential  part  of  the  program,  necessary  to  provide  the 
objective,  factual  basis  for  constant  improvement  and 
refinement. 

What  were  the  facts  about  film  distribution?  How 
much  use  was  being  made  of  each  print?  How  many 
duplicate  prints  could  each  distributor  use  advantage- 
ously? Which  films  were  in  demand  in  some  areas  and 
not  in  others?  What  were  the  diiiferences  in  film  dis- 
tribution effectiveness  of  difi^erent  kinds  of  distribu- 
tors? How  much  overlapping  in  film  shipment  existed 
due  to  the  "non-exclusive"  territorial  distribution  sys- 
tem? Which  states  areas  were  being  served  best  and 
poorest?  What  groups  were  using  the  films?  What 
was  the  percentage  of  adult  audiences?  What  groups 
should  be  using  the  films  who  were  not  being  served? 
What  did  those  using  the  films  think  of  them?  Which 
films  were  most  in  demand  ?  What  was  the  relationship 
between  the  number  of  prints  available,  and  the  "play- 
off" time?  For  how  many  months  did  a  film  retain  its 
popularity?  What  did  the  distributors  think  of  the 
pictures?  What  kind  of  pictures  were  wanted?  These 
were  the  kind  of  questions  that  required  factual,  ob- 
jective answers.  These  were  the  kind  of  questions  for 
which  answers  were  constantly  sought  and  obtained. 
These  answers  gave  constant  guidance  to  the  program 
and  brought  about  continued  improvements.  The  eval- 
uation program  of  the  Division  provided  the  basis  for 
decision  and  action. 

ft  is  conservatively  estimated — based  upon  complete 
statistical  analysis  of  several  months  distribution — that 
during  the  year  there  were  more  than  300,000  showings 
of  Office  of  War  Information  films  to  a  total  audience 
of  50,000,000  people. 

Detailed  statistics  for  the  month  of  April  1943  based 
upon  the  distribution  and  use  of  thirty-seven  subjects 
showed 

11,230  prints  in  circulation  (37  subjects  only) 
21,440  bookings,  with  an  estimated  total  of 
47,168  showings,  and  an  audience  of 

7,216,705  American  men,  women,  and  children 
Comparative  statistics  from  month  to  month  showed 
that  throughout  the  year  there  was  a  constant  increase 
not  only  in  the  number  of  subjects  and  prints  in  cir- 
culation, but  also  in  the  total  audience  being  reached. 
This  trend  was  still  upward  at  the  close  of  the  year, 
indicating  that  maximum  potential  war  information  film 
use  would  have  been  achieved  in  the  months  ahead. 

Next  Steps 

At  the  year's  end,  tentative  objectives  and  plans  had 
been  formulated  for  the  next  year  based  upon  the  first 
year's  experience. 

Fewer  new  subjects  were  to  be  released  during  the 


September,   194} 


Page  269 


new  year.  These  would  have  been  carefully  selected, 
based  upon  known  war  informational  needs  and  the 
needs  of  non-theatrical  film  audiences.  More  featurette 
length  pictures  running  forty  to  fifty  minutes  were  to 
be  released.  Several  previously  released  subjects  would 
have  been  withdrawn  from  circulation. 

The  distributional  system  would  have  been  refined. 
Special  assistance  was  to  be  given  to  those  distributors 
obtaining  less  than  average  circulation  per  print. 
Further  experimentation  would  have  been  carried  on 
in  placing  a  limited  number  of  prints  for  a  limited 
period  with  new  distributors  in  areas  least  well  served. 

In  developing  wider  and  better  use  of  war  informa- 
tion films  further  emphasis  was  to  be  placed  on  help- 
ing states  organize  their  plans  for  distributing  and 
using  war  films.  First  attention  was  to  be  given  to 
those  states  with  fewest  showings  per  hundred  thou- 
sand population.  Further  special  study  and  attention 
was  to  be  devoted  to  the  use  of  films  in  industrial 
plants  for  incentive  purposes  and  with  civilian  defense 
groups.  Preparation  of  study  materials  to  guide  the 
use  of  films  had  been  planned.  Major  objective  for 
the  year  was  to  be  to  obtain  maximum  informational 
value  from  every  film  showing. 

The  16mm  motion  picture  program  of  the  Office 
of  War  Information  as  carried  on  in  1942-43  demon- 
strated the  value  of  the  16mm  motion  picture  as  an 
informational  medium  in  a  way  never  before  realized. 
It  proved  the  valuable  function  that  could  be  performed 
by  a  coordinating  centralized  Government  agency  in 
channelizing  16mm  motion  pictures  for  a  single  pur- 
pose. It  showed  what  could  be  done  when  a  total  film 
program  was  planned  and  new  subjects  released  on  a 
regular  monthly  schedule.  It  reinforced  the  faith 
and  confidence  of  those  who  believed  in  the  potentiality 
of  the  existing  but  unorganized  film  distributing  agen- 
cies. The  use  made  of  the  16mm  war  information  mo- 
tion pictures  proved  to  all  who  participated  in  the 
program,  or  who  were  acquainted  with  it.  that  this 
was  a  program  that  should  be  continued  and  expanded. 

Pacific  Northwest  Audio-Visual  Conference 

(Concluded  jroin  paj/e  259) 

Subject  matter  for  animated  discussion  was  pro- 
vided in  the  demonstrations  by  Miss  Dora  Scheffskey  of 
how  to  use  a  sound  motion  picture  in  teaching  a  day's 
lesson  in  history,  and  how  to  use  a  radio  program  to 
help  the  students  organize  their  class  for  self-govern- 
ment. Miss  Scheffskey  taught  a  fifth  grade  class  from 
one  of  the  Portland  schools. 

In  the  round  table  discussion  that'  followed,  Mr. 
Jennings  and  Mr.  Miller  criticized  the  film  used  for 
containing  too  much  detail  of  material,  for  lacking  a 
dramatic  approach.  Others  pointed  out  that  Miss 
Scheflfsky  chose  in  advance  what  she  wished  the  students 
to  learn  from  the  film,  and  so  prepared  them  ahead  of 
time.  The  teacher's  pedagogical  methods  which  insured 
the  success  of  the  lessons  were  commented  upon  by  the 
various  specialists. 

Highlights  of  the  speeches  and  discussions  were  sum- 
marized and  evaluated  by  Mr.  Glenn  Jones  as  the 
closing  feature  of  the  conference. 


Confrontocl  Milh  the  probtvin 
of  Iraiiiing  millions  of  men 
quickly,  Uncle  Sam  was  fa»t 
lo  appreciate  the  experience  of 
thousands  of  schools  that  had 
already  proved  the  effective- 
ness of  instructional  films.  And 
today,  ERPI  films  flo  their  part 
—  speeding  up  the  instruction 
of  this  vast  army  of  men  — 
equippinK.  them  quickly  and 
thoroughly  for  mechanized 
war. 


Already  Proved 

Equally  Effective 

in  Thousands 

of  Classrooms 


Whether  for  pre-induction 
courses,  actual  training  pro- 
grams, or  the  regular  school 
curricula  —  ERPI  films  effec- 
tively supplement  personal  in- 
struction by  the  pictorial  pres- 
entation of  scientific  subjects 
being  studied. 

\Crite  for  FREE  Booklet  de- 
scribing the  ERPI  film  subjects 
which  have  been  used  so 
successfully  in  this  training 
program. 


ERPI  CLASSROOM  FILMS  INC. 


IS41  Broadway 


New  York  23,  New  York 


HAL  ROACH  4?ea^^ 


Enduring,    wholesome    "hits"   suitable    for 
school  presentation  on  16  mm  Sound  Films. 

JUST  RELEASED! 

OF  MICE  AND  MEN 

Featuring  Burgess  Meredith,  Betty  Field,  Lon  Chaney,  Jr. 
Dramatic  pictiirization  of  John  Steinbeck's  exceptional 
novel  and  prize-winning  stage  play.  Tensely  portrays 
migratory  farm  workers'  struggles  for  existence  ii*  a 
ceaseless   search   for  work. 

A  CHUMP  AT  OXFORD 

Featuring  Stan  Laurel  and  Oliver  Hardy 
The  riotously  funny  escapades  of  two  lowly  street  cleaners 
who  long  for  the  distinction  of  a  college  education. 
Presto!  The  wish  comes  true — the  boys  arrive  at  sedate 
Oxford — where  a  bevy  of  amazingly  ridiculous  adventures 
make   them   really    relieved   to   be   bounced   out   of  college. 

Al%0    AvallabU 


THE  HOUSEKEEPER'S   DAUGHTER 
with  Joan  Bennett,  Adolphe  Menjou 

THERE   GOES    MY   HEART 

with    Fredric   March,    Virginia    Bruce 

TOPPER  TAKES  A  TRIP 

with  Constance  Bennett,  Roland   Young 

ZENOBIA   (An   Elephant  Nevttt  ForgvU) 

itfith  Oliver  Hardy,  Harry  Langdon 

CAPTAIN    FURY 

with  Brian  Aherne,  Victor  McLaglen 

OTHER  OUTSTANDING  "HITS" 

SOON  TO  FOLLOW 


ORDER   FROM   YOUR   FILM    LIBRARY   TODAY 

Write    for    Free    Catalogue    listing    many    other 
educational  and   recreational  16  mtn  sound  films. 

POST  PICTURES  CORP. 


723   S.venth    Avenue 


Dept.    10 


New  York,   N.   Y. 


Page  270 


The  Educational  Screen 


CuxxEnt  ^iLm  c^tV^oji 


Scenes  from  Castle  war  films: 
(Top)   "Axis  Smashed  in  Africa." 
(Bottom)  "Victory  in  Sicily." 

■  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York  City,  cover  the  story 
of  recent  stirring  events  in  the  great 
Allied  offensive,  in  their  two  latest  news 
releases  in  16mm  sound  and  silent  edi- 
tions, entitled : 

Axis  Smashed  in  Africa — depicting 
the  sudden  collapse  of  the  enemy  in 
Tunisia  and  the  Allied  strategy  which 
brought  it  about.  As  the  Nazi  General 
Von  Arnim  concentrated  his  forces  for 
an  expected  attack  by  the  British 
Eighth  Army  in  the  South,  Eisenhower 
secretly  shifted  several  divisions  of 
American  and  British  troops  to  the 
North,  and  took  Bizerte.  The  Eighth 
Army  then  struck  its  delayed  blow 
from  the  South,  capturing  Tunis  and 
a  quarter  of  a  million  prisoners,  in- 
cluding   General    Von    Arnim. 

Victory  in   Sicily  and  Bombs   Rock 

Italy — on  the  same  reel —  is  an  amaz- 
ing camera  record  of  the  first  bold 
Allied  thrust  against  the  Fortress  of 
Europe.  The  greatest  armada  that 
ever  sailed  is  seen  as  Yanks,  British 
and  Canadians  storm  the  beaches  of 
Sicily  under  cover  of  terrific  naval 
and  air  bombardment.  The  last  half  of 
the  film  shows  the  devasting  effect  of 
concentrated  air  attack  upon  Italian 
supply  and  transportation  centers,  par- 
ticularly the  knockout  blow  given  the 
railroad  yards  at  Rome.  Aerial  views 
reveal  that  the  bombs  fell  with  perfect 
accuracy  upon  strictly  military  ob- 
jectives. 

A  new  series  of  films  for  home 
movie  fans  which  Castle  also  recom- 
mends for  education  programs  to  pro- 
vide  entertainment   relief,   is  a   set   of 


■  Bray  Pictures  Corporation,  729 
Seventh  Ave.,  New  York  City,  has  re- 
leased six  new  pre-flight  training  films 
in  16mm  sound,  one  reel  each.  Photo- 
graphed from  scripts  prepared  by  Dr. 
.Arthur  S.  Otis,  Co-author  of  the  Pope- 
Otis  textbook,  "Elements  of  Aeronautics," 
the  subject  matter  of  these  films  is  espe- 
cially designed  to  fit  the  aviation  courses 
now  being  taught  in  the  nation's  secondary 
schools.  The  contents  of  the  six  subjects 
are  indicated  by  the  titles : 

Aircraft  and  How  They  Fly 

Motions   of  a   Plane. 

Flying  the  Turn 

Starting — Taxiing — Taking    Off 

Landing 

Advanced  Maneuvers 

Dr.  Otis,  an  instructor  of  teachers 
of  aeronautics,  explains  the  purpose 
and  content  of  these  films  by  saying: 
"They  furnish  the  basic  information 
about  all  the  important  phases  of  the 
art  of  flying  which  require  motion  for 
their  proper  understanding;  they  con- 
sist of  approximately  5%  technical  ani- 
mation, 35%  of  photography  of  the 
motions  of  model  planes,  and  about 
60%  of  photography  of  aeroplanes  in 
motion." 

Mr.  J.  R.  Bray,  President  of  Bray 
Pictures  Corporation,  personally  su- 
pervised the  production  of  these  pic- 
tures. Mr.  Bray  produced  last  year  a 
series  of  films  on  aviation  in  collabora- 
tion with  the  Franklin  Institute  of 
Philadelphia,  including  "Youth  Takes 
To  Wings." 

Mr.  Bray  says  that  the  new  Bray- 
Otis  group  of  films  provides  the  an- 
swers to  the  most  important  questions 
in  learning  to  fly.  They  demonstrate 
clearly,  and  in  detailed  close-up,  every 
movement  the  plane  and  pilot  need  to 
make  from  the  take-off  for  a  short 
flight,  to  the  landing.  Spins,  loops, 
and  stalls  are  carefully  demonstrated, 
because  mastery  of  such  plane  move- 
ments  is  essential   to  safety   in   flight. 

eight    cartoon    comedies   featuring  the 
popular  animal  character: 

Kiko,  the  Kangaroo — created  by  the 
celebrated  Terrytoon  Studios.  Four  of 
these  cartoons  are  now  ready.  They  are 
"The  Big  Fight,"  "Cleaned  Out,"  "The 
Foxy  Fox"  and  "Hail  the  King." 


Kiko  and  the  Foxy  Fox 


■  Walter  O.  Gutlohn,  Inc.,  25  West 
45th  St.,  New  York  City,  has  just  re- 
leased in  16mm  sound  film,  three  features 
presenting  Scattergood  Baines,  the  well- 
known  character  of  fiction  and  radio, 
created  by  Clarence  Budington  Kelland. 
Titles  are: 

Scattergood  Baines 
Scattergood  Pulls  the  Strings 
Scattergood  Meets  Broadway 
The    genial    and    resourceful     small 

town  philosopher  is  portrayed  by  Guy 

Kibbee. 

■  Brandon  Films,  Inc.,  1600  Broad- 
way, New  York  City,  has  instituted  a 
special  consultation  service  designed  to 
aid  civilian  and  military  study  of  foreign 
areas.  Mrs.  Anne  Schutzer  has  been  ap- 
pointed to  head  the  new  service  which 
will  issue  special  comprehensive  lists  of 
Films  For  Foreign  Area  Study.  Lists 
on  Italy,  Germany,  France,  Russia,  and 
Czechoslovakia  will  be  ready  for  servicing 
this   month. 

It  was  also  announced  that  Brandon 
Films,  Inc.,  had  acquired  the  distribu- 
tion rights  to  a  series  of  five  health 
films  produced  by  Finer  Films  Co: 

Vim,  Vigor  and  Vitamins — a  drama- 
tic presentation  of  the  nature  of  a  com- 
plete diet;  the  function  of  vitamins  and 
their  richest  sources. 

Small  Pox:  The  Ever-Present  Men- 
ace— proves  the  necessity  of  vaccina- 
tion and  revaccination  as  the  only  sure 
preventative   of    Smallpox. 

In  Every  Day — a  study  of  proper 
health  habits  by  presenting  a  typical 
day  in  the  life  of  a  model  American 
boy. 

s 

The  Value  of  a  Smile — a  human  in- 
terest study  of  mouth  health,  including 
the  need  for  straightening  teeth,  foods 
for  strong  teeth,  and  proper  methods  of 
brushing  teeth. 

The  Smiles  Have  It — an  elementary 
motivation  study  for  developing  chil- 
dren's interest  in  proper  care  of  the 
teeth  and  gums. 

■  Atlas  Educational  Film  Co.,  Oak 
Park,  111.,  has  completed  production  on 
a  new  high  school  Victory  Corps  film 
presented  by  the  American  Dental  Asso- 
ciation as  a  contribution  to  the  U.  S. 
Bureau  of  Education  Physical  Fitness 
Program : 

Student  Flyer — 1  reel,  16mm  sound — • 
dramatizing  the  importance  of  dental 
health  both  for  service  in  the  Armed 
Forces  and  as  civilian  war  workers. 
Utilizing  the  popular  Hollywood  tech- 
nique of  Narrator-.Actor-Flashback,  the 
story  opens  with  a  dramatic  high-spot 
in  the  life  of  a  boy  keenly  desirous  of 
becoming  a  flyer.  Woven  into  the  plot 
is  practical  advice  on  the  care  of  the 
teeth.     While  the  emphasis  is  on  fly- 

(Continued  on  page  272) 


September,   1945 


Page  271 


Behind  the  Battle  Line ... 


Motion  Pictures  Refresh  our  Figliting  Men 


AGAINST  a  backdrop  of  rugged 
■^*-  mountains  thousands  of  American 
soldiers  are  enjoying  the  latest  films 
from  the  U.  S.  A.  This  scene  is  im- 
mediately behind  the  battle  lines  where 
our  fighting  men  come  to  rest  and  relax 
before  going  back  into  action. 

Here  the  Army  Special  Service  Units 
make  available  to  the  men  every  type 
of  recreational  material  including  the 
AMPRO  Dual  motion  picture  units 
known  in  the  armed  forces  as  the  "J" 
kit. 

In  addition  Ampro  16mm.  Projectors 


are  being  used  in  all  types  of  educa- 
tional institutions  for  standard  courses 
as  well  as  for  training  tasks  in  con- 
nection with  the  war  effort.  In  building 
these  precision  projectors  to  meet  the 
exacting  demands  of  high  standard  pro- 
jection under  the  most  trying  condi- 
tions, Ampro  engineers  are  accumulat- 
ing valuable  experience  that  will  result 
in  some  astonishing  developments  for 
post-war  civilian  projectors. 

To  keep  abreast  with  these  develop- 
ments, write  today  for  the  latest  Ampro 
catalog. 


These   dual    unit   Ampro-tounds   are   typical    of  those    used   in 
"special    services''   overseas   as   part   of   the   Army's  "J"   kit. 

PRECISION    CINE    EQUIPMENT 


The  Ampro  Corporation,  2851  N.  Western  Ave.,  Chicago,  Illinois 

AMPRO 


Page  272 


The  Educational  Screen 


^mKh4dei  from  page  270) 

iiitr,  the  story  of  physical  fitness  applies 
ill  ,:f-li.^.^i  stnd^nts 

in  cities  having  Visual  Aid  Depart- 
ments serving  the  schools.  Applica- 
tions should  be  made  to  the  producer. 


■  Visu.AL  Art  Films  Distributors, 
Empire  Bldg.,  Pittsburgh,  Pa.,  have  been 
assigned  exclusive  distribution  of  the 
Father  Hubbard  films  in  the  states  of 
Pennsylvania,  West  Virginia  and  East- 
ern Ohio.  Among  other  subjects  re- 
cently added  to  the  rental  library  of 
Visual  Arts  is  the  feature  film : 

Our  Town — 9  reels — based  on  Major 
Thornton  Wilder's  Pulitzer  prize  play, 
portraying  life  in  a  small  tovi'n,  with 
Martha  Scott  and  William  Holden  as 
stars.  Other  acquisitions  are  "Child- 
dren  of  the  Wild"  "Fangs  of  the  Wild" 
"I  Conquer  the  Sea"  and  "Under 
Strange  Flags." 

■  Bell  &  Howf.ll  Company,  1801 
Larchmont  Ave.,  Chicago,  report  the  fol- 
lowing new  features  are  now  available 
for  approved  non-theatrical  audiences. 

Ride  'Em  Cowboy  (Universal) — 9 
reels — Bud  Abbott  and  Leu  Costello 
on  an  Arizona  dude  ranch. 

Bombay  Clipper  (Universal) — 6  reels 
— an  action  mystery  drama  concerned 
with  jewel  smugglers  on  a  transpacific 
airliner. 

Caption  Caution  (United  Artists) — 
9  reels — from  the  story  by  Kenneth 
Roberts,  starring  Victor  Mature. 

What's  Cookin'  (Universal) — 7  reels 
— a  musical  comedy  with  the  Andrews 
Sisters,  Woody  Herman,  Leo  Carillo 
and   Gloria  Jean. 


Scenes  from  British  films:  "Silent  Village"  (left),  "World  of  Plenty"  (right). 


"A  Warrior  of  the  Sahara" 

(From  a  one-reel  film  on  "Warriors  of 
the  Sahara,"  made  by  Count  Byron  De 
Proprok,  noted  archeologist.  who  visit- 
ed the  famed,  veiled  Tauregs.  The  film 
portrays  the  discovery  of  the  tomb  of 
Tin-Hinan,  white  queen  of  Sahara.  It 
is   distributed    by   Bell    &    Howell    Co.) 


■  Russell  C.  Roshon  Organization. 
large  distributors  of  16mm  motion  pic- 
tures, has  opened  branch  offices  in  five 
additional  cities,  namely,  Boston,  San 
F'rancisco,  New  Orleans,  Denver,  and 
Cincinnati.  This  now  makes  fifteen 
Roshon  offices  serving  non-theatrical  film 
users  throughout  the  country.  Head- 
quarters are  in  the  State  Theatre  Build- 
ing, Pittsburgh,  and  additional  branch 
offices  are  located  in  Philadelphia,  At- 
lanta, Dallas,  Memphis,  Kansas  City. 
New  York,  Minneapolis,  St.  Louis,  and 
Chicago. 

Major  I6mm  sound  feature  films  are 
now  available  to  projector  owners  from 
coast  to  coast,  including  such  outstanding 
pictures  as  "The  Howards  of  Virginia," 
"Arizona,"  "His  Girl  Friday,"  "Sweet- 
heart of  the  Campus,"  "Golden  Boy." 
"EUery  Queen,"  and  many  others  exclu- 
sively distributed  in  the  non-theatrical 
field  by  the  Roshon  Orga'.iization. 

In  addition  to  its  large  catalogue  list- 
ing hundreds  of  films  for  all  purposss. 
the  company  issues  Filtii  Fax,  which  is 
furnished  free  to  all  users  of  16mni  sound 
films  who  write  to  the  Pittsburgh,  Pa., 
office. 

■  AuDioFiLM  Studio  of  Vancouver. 
Washington  announces  the  production  and 
availability  of  a  one-reel  sound  film  titled : 

Electrons  and  Current  Flow  —  de- 
signed for  High  School  Physics  classes 
and  other  classrooms  teaching  basic 
electricity.  The  film  explains  the  laws 
of  attraction  which  cause  electrons  to 
move  among  the  atoms  of  a  conductor 
of  electricity,  showing  how  current 
flows,  why  a  wire  has  resistance  and 
the  effect  of  increased  voltage  upon 
current  flow.  The  true  meaning  of 
"voltage"  is  mads  clear  and  the  "speed" 
of  electricity  as  contrasted  with  "elec- 
tron drift"  is  explained  in  detail. 

■  Union  County  Film  Service,  128 
Chestnut  St.,  Roselle  Park,  New  Jersey, 
announces  the  offering  of  a  wide  variety 
of  16mm  sound  and  silent  subjects  at  rea- 
sonable rentals.  Included  are  features, 
cartoons,  comedies,  sports,  travel,  musicals, 
etc.  A  careful  effort  is  made  to  select 
only  those  films  that  seem  best  suited  to 
the  school  demand.  All  films  are  screened 
before  acceptance  in  the  library  to  en- 
sure satisfactory  photographic  and  sound 
quality. 


■  British  Information  Services,  360 
N.  Michigan  Ave.,  Chicago,  have  released 
for  non-theatrical  showings  two  important 
recent  productions  of  the  British  Minis- 
try of  Information.    They  are : 

Silent  Village — a  Crown  Film  Unit 
Production  in  4  reels,  made  with  the 
cooperation  of  the  Czechoslovak  Min- 
istry of  Foreign  Affairs  and  the  South 
Wales  Miners  Federation.  In  this  film 
the  story  of  Lidice  is  re-enacted  by 
the  people  of  a  mining  village  in  South 
Wales,  whose  peacetime  life  was  simi- 
lar to  that  of  the  people  of  the  Czech 
village.  It  depicts  the  effect  of  the 
Nazi  attack  on  the  life  of  the  village 
in  terms  of  the  life  of  Cwmgiedd. 
Throughout  the  film  the  people,  there- 
fore, continue  to  speak  their  Welsh 
language,  wear  their  own  clothes  and 
sing  their  own  Welsh  songs.  Theme 
of  the  film  is  that  freedom  can  always 
be  maintained  so  long  as  there  are 
people  with  conviction  enough  to  die 
for  freedom. 

World  of  Plenty— a  Paul  Rotha  Pro- 
duction in  5  reels — a  film  on  the  pro- 
duction, distribution  and  consumption 
of  food,  the  implication  being  that  in 
peace  as  well  as  in  war,  food  is  man's 
primary  security.  Opening  with  the 
pre-war  problems  of  overproduction 
and  the  anomaly  of  glutted  markets 
and  hungry  people,  the  film  goes  on 
to  show  the  control  being  exer- 
cised over  production,  distribution  and 
price  during  the  present  war.  The 
final  message  is  that  after  the  war  there 
must  be  international  control  of  world 
products  and  world-wide  planning  of 
distribution.  Well-known  experts  on 
the  subject  of  food  appear  in  the  film, 
discussing   the   many  problems   raised. 

Other  British  16mm  sound  produc- 
tions recently  received  for  showing  in 
this  country  are  two  features,  "I  Was  a 
Fireman,"  and  "Before  the  Raid,"  and 
ten  short  subjects  on  farming,  science, 
health,  war  and  industry. 

■  College  Film  Center,  84  E.  Ran- 
dolph St.,  Chicago,  is  also  distributing 
the  four  British  features  listed  above, 
as  it  handles  all  the  films  released  by 
the  British  Ministry  of  Information,  and 
the  National   Film  Board  of  Canada. 


September,   1943 


Page  273 


■  Ideal  Pictures  Coiporation',  28  E. 
Eighth  St.,  Chicago,  makes  the  important 
announcement  that  this  organization  has 
obtained  exclusive  16nim  distribution 
rights  to  such  outstanding  Hollywood 
feature  productions  as : 

Becky  Sharp  —  8  reels  —  based  on 
Thackeray's  famous  novel,  I 'unity  Fair. 
starring  Miriam  Hopkins,  with  Alan 
Mowbray  and  C.  Aubrey  Smith  in  im- 
portant supporting  roles. 

Little  Lord  Fauntleroy — 10  reels — 
the  notable  screen  version  of  Frances 
Hodgson  Burnett's  beloved  classic  of 
the  same  name,  starring  Freddie  Bar- 
tholomew and  Dolores  Costello. 

The  Young  in  Heart — 9  reels — a  de- 
lightful comedy  with  an  outstanding 
cast  which  includes  Roland  Young, 
Billie  Burke,  Janet  Gaynor  and  Doug- 
las Fairbanks,  Jr. 

A  Star  is  Born — 11  reels — the  story 
about  Hollywood,  starring  Janet  Gay- 
nor and  Fredric  March. 

These  films  are  listed  and  described 
in  Ideal's  new  Catalog  Supplement  just 
issued,  together  with  scores  of  other  fea- 
tures from  major  studios  including  such 
subjects  as  the  Scattcrgood  Baines  series 
about  small-town  life,  starring  Guy  Kib- 
bee,  Orson  Welles'  famous  production 
Citizen  Kane,  Suspicion,  the  Hitchcock 
production,  starring  Joan  Fontaine  and 
Cary  Grant.  Also  new-  in  the  Ideal  Li- 
brary is  Zamboanga,  authentic,  colorful 
tale  of  the  Moro  Sea  gypsies,  Children 
of  the  Wild,  featuring  the  dog  Silver 
Wolf  and  animals  of  the  wild,  in  the 
scenic  settings  of  the  Rocky  Mountains, 
Code  of  the  Red  Man,  a  story  of  frontier 
days,  featuring  the  horse,  Thunder. 

This  is  a  supplementary  catalog  to 
Ideal's  large  general  catalog  and  either 
or  both  can  be  obtained  on  request  from 
headquarters  address  given  above  or 
from  Ideal's  several  branches  through- 
out the  country. 

■  The  Princeton  Film  Center,  Prince- 
ton, N.  J.,  will  handle  the  distribution  of 
a  film  they  have  produced  for  Boeing, 
documenting  the  Boeing  Flying  Fortress : 

Fortress  in  the  Sky — a  3-reel  Koda- 
chrome  film  which  tells  the  dramatic 
story  of  the  fighting  bombers  which 
have  played  a  spectacular  role  in  the 
operations  of  our  Air  Forces.  The 
film,  photographed  mainly  in  Boeing 
plants  and  at  an  Army  Air  Base,  was 
produced  under  the  direction  of  Gor- 
don  Knox. 

■  DeVry  Films  and  Laboratories,  1111 
Armitage  Ave.,  Chicago  (14),  have  just 
issued  a  new  S6-page  edition  of  their 
Educational  and  Recreational  Film  Cata- 
logue of  16mm  sound  and  silent  films. 
Included  are  teaching  subjects  in  history, 
geography,  nature  study,  the  sciences, 
literature,  music,  health  safety,  vocational 
training  and  current  events.  The  16mm 
sound  feature  length  recreational  films 
include  some  of  the  outstanding  produc- 
tions of  Hollywood.  Selected  short  sub- 
jects, cartoons  and  comedies  are  also 
available  for  every  type  of  program.  A 
free  copy  of  this  catalogue  may  be  ob- 
tained upon  request  to  DeVry. 


NOW... 


is  the  time 


To  order  YOUR  copy  of  the  19TH  EDITION  of 

"1000  and  ONE" 

The  Blue  Book  of  Non-Theatrical  Films 
which  will  be  off  the  press  in  just  a  few  days. 


USERS    OF    FILMS    in 

Schools,  Churches,  Industry,  Military  Train- 
ing Camps,   Clubs   and   Community   Work 

will  find  the  19TH  EDITION  of  "1000  and  ONE"  more  serviceable 
and  indispensable  than  ever  before.  Among  the  several  thousand 
films  listed  are  hundreds  upon  hundreds  of  new,  important  subjects 
made  available  since  the  previous  edition  appeared  last  Fall. 

Included  are  the  latest  and  best  films  for  classroom  instruction  in 
the  elementary  school,  the  high  school  and  college  .  .  .  films  for 
training  in  war  production  .  .  .  for  the  instruction  of  men  in  military 
training  camps  .  .  .  films  for  informing  the  general  public  on  the 
aims  and  progress  of  the  war  .  .  .  films  on  Health,  on  Religious 
subjects  and  for  entertainment  and  recreation  .  .  .  Films  for  every 
need  and  every  purpose,  classified  into  176  subject-groups,  with 
complete  information  as  to  length,  whether  silent  or  sound,  and 
distributors  from  whom  available. 

MAKE  SURE 

you  have  this  latest  Edition  of  the  famous  film  directory  immediately 
it  is  off  the  press  by  sending  for  it  NOW. 


Price 


75c 


Subscribers  to  Educational  Screen 
pay  ONLY  25c  for  "1000  and  ONE." 

$2.25  will  bring  you  the  magazine  for  a  year  and  copy  of  the  direc- 
tory; $3.25  pays  for  two-year  subscription  and  "1000  and  ONE." 


Educational  Screen 


64  East  Lake  Street 


Chicago  1,  Illinois 


Page   274 


c:/f-mona  ike  ^xoduas.%± 


"Coronet"  Magazine  Announces 
New  Visual  Aids  for  Schools 

A  new  and  unique  educational  service 
is  being  offered  to  schools  by  Coronet 
Magazine  and  the  Society  for  Visual 
Education,  Inc.  This  service  will  start 
this  month,  and  extend  through  eight 
months  of  the  regular  school  year.  Slide- 
films  and  reprints  of  Coronet's  interesting 
and  timely  "Picture  Story"  will  be  fur- 
nished each  month  to  those  who  enroll 
for  the  service  at  a  nominal  annual  fee 
to  cover  postage  and  handling.  Coronet 
will  pay  all  costs  of  production  as  a  con- 
tribution toward  the  better  understanding 
of  the  world  in  which  we  live.  These 
visual  aids  are  designed  for  use  in  social 
studies  and  related  subjects,  and  all  will 
have  a  direct  relationship  to  the  activi- 
ties, problems,  and  personalities  of  the 
war. 

Each  issue  of  Coronet  contains  an  m- 
teresting    and    timely    Picture     Story— 


Slidefilm  rolls  in  Coronet  Series 

usually  thirty  to  forty  photographs  with 
explanatory  text.  These  have  included 
such  stories  as  "History  of  World  War 
No.  2,"  by  William  L.  Shirer,  "The  Siege 
of  a  Russian  City,"  by  Wendell  L.  Will- 
kie,  "The  Story  of  Lend-Lease,"  by  Ed- 
ward R.  Stettinius,  Jr.,  and  "Europe 
Underground,"  by  Alfred  J.  Steinkopf. 
Each  has  included  much  valuable  mate- 
rial for  classroom  instruction. 

The  new  service  offers  these  well  or- 
ganized and  effective  instructional  units 
in  two  forms — on  slidefilms  for  group 
instruction,  and  as  a  separate  bound  re- 
print of  the  Picture  Story  for  those  who 
do  not  have  slide  film  projectors,  or  for 
individual  reference  and  study.  The  Sep- 
tember release  will  tell  the  story  of  sub- 
marine warfare.  This  will  be  followed  in 
October  by  "China  Fights  Back,"  by 
Madame  Chiang  Kai-shek.  The  Novem- 
ber release  will  be  a  picture  story  of  the 
United  States  Navy,  in  full  color,  both 
in  the  reprints  and  on  the  slidefilms. 
Other  subjects  to  follow  each  month  will 
be  equally  interesting  and  timely. 

The    slidefilms   will    be  produced   and 
distributed    by    the    Society    for    Visual 


Education,  Inc.  The  cost  to  schools  v;ill 
be  only  $2.00  for  the  entire  series  of  eight 
slidefilms  and  booklets,  including  the 
magnificent  color  film  on  the  United 
States  Navy.  Reprints  of  the  Picture 
Section  will  be  available  at  Ic  each  in 
lots  of  25  or  more,  and  may  be  ordered 
from  Coronet,  919  North  Michigan  Ave- 
nue, Chicago  (11),  Illinois,  or  from  the 
Society  for  Visual  Education,  Inc. 

Both  slidefilms  and  Picture  Section  re- 
prints will  be  distributed  each  month 
among  those  who  subscribe  to  these  serv- 
ices. Each  slidefilm  will  be  accompanied 
by  a  booklet  which  will  serve  as  an 
instructor's  manual.  There  are  no  other 
charges  or  obligations  and  the  slidefilms 
or  reprints  become  the  permanent  proper- 
ty of  the  schools  subscribing  for  them. 

For  a  descriptive  circular  of  this  new 
service,  write:  Society  for  Visual  Edu- 
cation, Inc.,  100  East  Ohio  Street,  Chi- 
cago  (11),  Illinois. 

New  Slides  for  Aircraft 
Identification  Kit 

A  supplementary  unit  of  15  new  air- 
craft silhouettes  in  2"  x  2"  miniature  slides 
for  Flying  magazine's  .Aircraft  Identi- 
fication Kit,  recently  announced  by  the 
Society  for  Visual  Education,  Inc.,  is 
now  ready  for  distribution  to  the  hundreds 
of  users  of  this  kit. 

The  aircraft,  and  the  numbers  assigned 
to  them  in  the  kit  are : 

113.  Hawker  Typhoon  IB;  114.  De- 
Havilland  Mosquito;  115.  Boeing  Clipper 
("314"):  116.  Lockheed-Vega  Ventura; 
117.   Lockheed   Constellation. 

Three  individual  silhouettes  on  sepa- 
rate slides  show  side,  bottom,  and  front 
views  of  each  type  of  aircraft.  The  com- 
plete unit  of  15  slides  is  priced  at  $3.00. 

This  new  material  was  prepared  in  ac- 
cordance with  the  original  plans  of  Flying 
magazine  to  add  to  their  kit  of  336  slides, 
as  quickly  as  detailed  information  on  new 
types  of  military  aircraft  is  secured  and 
drawings  can  be  prepared.  The  Society 
for  Visual  Education,  Inc.,  exclusive  dis- 
tributor of  this  kit,  will  announce  addi- 
tional units  as  soon  as  they  are  available. 


The  Educational  Screen 

Radiant's  New  Screens 
of  Non-Critical  Materials 

A  new  full  line  of  projection  screens 
designed  to  supply  all  civilian,  educational 
and  visual  training  needs,  yet  made  of 
non-critical  material,  has  just  been  an- 
nounced by  Radiant  Manufacturing  Corp., 
1140  W.  Superior  St.,  of  Chicago,  the 
major  part  of  whose  production  is  now 
going  to  the  Armed  Forces. 

Portable,  table,  wall  and  ceiling  screens 
in  a  variety  of  sizes,  all  with  the  well- 
known  Radiant  "Hy-Flect"  glass-beaded 
screen  surface,  will  be  available  for  im- 
mediate delivery  in  sizes  from  22"  x  30" 
to  16'  X  16".  Many  outstanding  features 
of   former    Radiant   lines   have   been   in- 


Radiant  Day-Time  Projection  Box 

corporated  again  in  the  new  line.    New 
models  are  available  without  priorities. 

A  new  projection  screen  unit  called  the 
Radiant  Day-Time  Projection  Box,  de- 
signed primarily  for  our  Armed  Forces, 
is  now  available  for  educational  and  other 
visual  training  use.  The  shadow  box 
construction  of  this  unit  permits  the  show- 
ing of  pictures  in  broad  daylight  to  audi- 
ences up  to  150  persons.  It  can  be  set 
up  quickly  and  easily,  and  just  as  easily 
dissembled,  all  parts  fitting  into  a  stor- 
age case.  It  is  adjustable  in  height  to 
four  different  positions.  It  is  said  the 
ability  to  show  sharp  and  clear  pictures 
in  broad  daylight,  in  a  well-ventilated 
room,  has  drawn  enthusiastic  response 
from  instructors  who  have  tested  the  unit. 
S.V.E.  Projectors  for 
Pre-Induction  Training  Courses 

The  Society  for  Visual 
Education,  Inc.,  has  been 
granted  permission  by  the 
WPB  to  release  a  limited 
quantity  of  the  Model  DD 
Tri-Purpose  Projectors  to 
schools  giving  Pre-Induc- 
tion Training  Courses. 


The  Model  DD  shows 
both  single  and  double 
frame  slidefilms  and  2"x2" 
miniature  slides  in  black 
and  white  or  Kodachrome. 
It  is  equipped  with  a  ISO- 
watt  lamp,  Anastigmat 
lens,  S.V.E.  rewind  take- 
up,  and  is  especially  suited 
for  use  in  classrooms  or 
small  auditoriums. 


September,   194i 


Page  275 


For  prompt  delivery,  S.V.E.  requests 
that  schools  submit  orders  with  a  priority 
rating.  The  automatic  rating  procedure 
under  CMP-Regulation  5 A  may  be  used 
on  orders  for  less  than  $100.00  worth  of 
equipment.  Orders  must  be  accompanied 
by  a  certification  stating  that  the  school 
has  Pre-Iiiduction  Training  Courses,  sign- 
ed by  the  officer  in  charge  of  tlie  courses. 

Further  information  may  be  secured 
from  any  S.V.E.  dealer  or  from  the 
Society  for  Visual  Education,  Inc.,  100 
East  Ohio  Street,  Chicago  (11),  Illinois. 

Filmstrips  Presents  the 
History  of  Aeronautics 

A  35nim  film  strip  covering  the  evolu- 
tion of  flying  is  available  from  Visual 
Sciences  of  SufFern,  N.  Y.  Beginning 
with  the  mythological  contribution  of 
Daedalus,  the  work  portrays  chrono- 
logically every  important  milestone  in 
aviation  history,  including  a  frame  on  the 
1943  Heliocopter. 

The  last  half  of  the  filmstrip  shows  the 
various  U.  S.  Military  planes  and  ends 
with  two  frames  showing  the  wing  and 
tail  markings  of  the  planes  of  the  Allied 
Nations  as  well  as  those  of  the  enemy. 

"History  of  Aeronautics"  should  serve 
as  fine  introductory  visual  material  to 
courses  in  pre-induction  aviation.  Each 
of  the  forty  pictures  in  the  roll  includes 
its  own  explanatory  title  and  may  be  pro- 
jected without  comments  from  the  teach- 
er ;  or  as  each  picture  is  flashed  on  the 
screen,  the  instructor  may  add  his  own 
commentary  or  even  invite  questions  from 
the  class.  The  roll  sells  for  $2.00  post- 
paid. 

New  Science  of  Opti-Onics 

In  discussing  the  wartime  production 
activities  at  the  Bell  &  Howell  Company, 
Chicago,  manufacturers  of  motion  picture 
equipment  and  optical  devices,  Mr.  J.  H. 
McNabb,  president  of  that  organization, 
declared  in  a  recent  interview  that  "out 
of  the  greatly  accelerated  technical  and 
research  developments  of  this  war  period 
is  coming  a  new  science.  This  science  of 
Opti-onics  is  not  optics ;  it  isn't  elec- 
tronics ;  but  it  is  a  combination  of  both, 
combined  with  precision  mechanical  de- 
sign. 

"It  would  be  inaccurate  to  describe  the 
work  this  company  is  doing  in  this  over- 
lapping region  as  either  electronics  or 
optics.  Hence,  the  new  term,  Opti-onics. 
A  good  example  of  the  necessity  for  com- 
bining certain  portions  of  these  two 
sciences  into  one  is  furnished  in  television. 
The  electronics  engineer  can  devise  a 
system  electronically  which  transmits  and 
receives  a  visual  image  on  the  fluorescent 
surface  of  a  cathode  ray  tube.  But  here 
the  optical  engineer  must  take  over  and 
devise  an  optical  system  which  will  en- 
large and  reproduce  this  image  to  a 
usable  size  and  form.  The  work  in  the 
two  fields  must  be  co-ordinated.  This  co- 
ordination and  combined  work  on  the  part 
of  our  research  staff  of  engineers,  to  be 
truly  de.scriptive,  must  be  called  Opti- 
onics." 

Mr.  McNabb  predicted  unique  but 
highly  practical  devices  for  entertain- 
ment and  service  for  the  postwar  world 
to  arise  from  the  field  of  Opti-onics. 


"Eye  School"  Established 
By  Jam  Handy 

The  Jam  Handy  Organization,  Detroit, 
recently  opened  the  "Jam  Handy  Eye 
School  No.  1",  a  model  school  room  fully 
equipped  for  integrating  slidefilms  and 
motion  pictures  with  routine  methods  of 
teaching.  This  School  will  hold  a  series 
of  visual  instruction  clinics  devoted  to 
experiments  in  the  utilization  of  visual 
aids,  the  results  of  which  will  be  made 
available  from  time  to  time  to  schools, 
colleges,  and  others  interested.  A  wide 
range  of  studies  will  be  conducted  in  the 
Eye  School,  with  the  cooperation  of  pro- 
fessional teachers  and  educators,  and 
groups  of  average  pupils,  in  order  to  de- 
termine the  most  effective  methods  of 
using  motion  pictures  and  slidefilms  in 
teaching  and  training  programs. 

A  primary  objective  of  these  clinics, 
also,  is  to  determine  ways  in  which  the 
picture  screen  may  help  ease  the  labors 
of  the  teacher,  and  to  help  alleviate  the 
present  teacher  shortage.  The  sponsors 
of  the  School  point  out  that,  providing 
fundamental  knowledge  of  subjects  under 
study  more  rapidly,  visual  aids  saves 
time  for  the  instructor  and  frees  him  for 
the  supervision  of  more  detailed  phases 
of  study. 

Bird  Pictures  in  Color 

An  interesting  and  informative  set  of 
fifty-six  paintings  by  R.  Bruce  Horsfall, 
picturing  one  hundred  and  eighteen  birds, 
have  been  reproduced  in  2"  x  2"  slides 
and  on  stripfilm  in  Kodachrome  color  by 
Colorcraft  Studios. 

To  assist  teachers,  bird  lovers  and  lec- 
turers in  the  use  of  the  slides,  a  beauti- 
fully illustrated  maimal  has  been  pre- 
pared by  William  Ayres  Eliot,  author, 
lecturer  and  life  time  student  of  nature. 
A  copy  of  this  manual  in  book  form  is 
supplied  with  each  set  of  2"  x  2"  slides 
of  stripfilm.  The  manual  covers  dis- 
tribution, habitat,  common  and  scientific 
name  as  well  as  the  feeding  and  nesting 
habits,  calls  and  songs  of  each  bird. 

Catalogue  giving  full  particulars  will 
be  furnished  by  Colorcraft  Studios.  2174 
N.E.  Multnomah  St.,  Portland  12,  Ore- 
gon. 


Two  Views  of  the  Eye  School 

Texas  Visual  Education  Co. 
Changes  Name 

Effective  September  1,  1943  Texas 
Visual  Education  Company,  305  West 
10th  Street,  Austin,  Texas,  changed  its 
name  to  Visual  Education  Incorporated 
and  moved  to  new  quarters  at  Twelfth 
and  Lamar,  Austin  21,  Texas. 

The  officers  are  C.  R.  Reagan,  presi- 
dent ;  George  H.  Mitchell,  vice-president 
and  general  manager ;  and  Roy  Reagan, 
secretary. 

News  Publications 

No.  1,  Volume  XV',  of  DeVry's  Moz'ic 
Nezvs  is  just  off  the  press.  The  twelve 
pages  of  this  "E"  edition  are  packed  with 
interesting  pictures,  comments  and  data 
I)ertinent     to     Audio-Visual     education. 

Persons  interested  in  the  role  motion 
pictures  are  playing  in  the  drive  for  vic- 
tory, and  the  part  they  will  play  in  the 
post-war  era,  can  obtain  a  free  copy  of 
this  monthly  magazine  upon  request  to 
DeVry  Corporation,  1111  Arniitage  Ave- 
ime,  Chicago,  14. 

The  first  issue  of  Ampro  News  having 
met  with  cordial  response,  a  second  num- 
ber, dated  July,  has  been  published  by 
Ampro  Corporation.  Readers  will  be  par- 
ticularly glad  to  get  the  "Priority  Infor- 
mation on  Maintenance,  Repair  and  Op- 
erating Supplies  for  Projectors,"  which 
therein.  Those  desiring  to  be  put  on 
the  mailing  list  of  this  publication, 
should  send  in  their  request  to  Am- 
pro Corporation,  28.S1  N.  Western  Ave- 
nue, Chicago. 


Page  276 


The  Educational  Screen 


TJTI'T3t'     T'TJT^^       &  TDr  A  Trade  Directory 

XXUXVU       X   XXU   X       £\I\L^  for  the  Visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425   VVilliains  St.,   Denver.  Colo. 
Bailey  Film  Service  (3) 

1651   Cosmo  St.,  Hollywood,  Calif. 
Bell  &  Howell  Co.  (3) 

1815   Larchmont  Ave.,  Chicago.   111. 
(See  advertisement  on  page  232) 

Better  Films  (2) 

742.-\  New  Lots  .Ave.,  Brooklyn,  N.Y. 
(See  advertisement  on  page  266) 

Brandon  Films  (3) 

16(10  Broadway.  New  York,  N.   V. 
(See  advertisement  on  page  2I!4I 

Bray  Pictures  Corp.  (3,  6) 

729  Seventh  Ave..  New  York.  N.  \  . 
(See  advertisement  on  page  267) 

British  Information  Services  (3) 

.?60  N.  Mirhigan  Ave..  Chicago  1.  111. 
(See  advertisement  on  page  259) 

Castle  Films  (2.  5) 

RCA  Bldg..  New  York.  N.  \  . 

(See  advertisement  on  page  22.5  1 

Central  Education  Association  (1) 

123  S.  Washington  St.. 
Green   Bay,  Wis. 
College  Film  Center  (3,  5) 

84   ¥..   Randolph  St..  Chicago,   111. 
(See  advertisement  on  page  2621 

Creative  Educational  Society  (1) 

4th   Fl..   Coughlan   Bldg. 
Mankato.   Minn. 
DeVry  School  Films  (3) 

nil   .Armitage  .Ave.,  Chicago,  111. 
(See  advertisement  on  page  226) 

Eastman  Kodak  Stores.  Inc.  (3) 

Eastman  Classroom  Films 

356  Madison  Ave.,  New  York,  N.Y. 

Erpi  Classroom  Films,  Inc.  (2,  S) 

1841    Broadway.  New  York,  N.  Y. 

(See  advertisement  on  page  269) 

Father  Hubbard  Educational  Films  (2) 

188  W.  Randolph  St.,  Chicago,  111. 
Santa  Clara,  Calif. 

(See  advertisement  on  page  266) 

Films,  Inc.  (3) 

330  W.  42nd  St..  New  York,  N.  Y. 

64  E.  Lake  St..  Chicago 

314  S.  W.  Ninth  Ave.,  Portland,  Ore. 

General  Films,  Ltd.  (3,  6) 

1924  Rose  St..  Regina,  Sask. 
156  King  St.  W.  Toronto 
Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  4Sth  St..  New  York,  N.  Y. 

(See  advertisement  on  page  263) 

Hoffberg  Productions,  Inc.  (2,  S) 

1600  Broadway,  New  York,  N.  Y. 

Ideal  Pictures  Corp.  (3.  6) 

28  E.  Eighth  St..  Chicago.  III. 

(See  advertisement  on  pages  250-251) 

The  Janssen  Symphony  (2) 

4403  W.  8th  St.,  Los  Angeles,  Calif. 

(See  advertisement  on  page  257) 

Knowledge  Builders  Classroom   Films 

625  Madison,  New  York,  N.  Y.  (2,5) 
Manse  Film  Library  (3) 

2514  Clifton  Ave.,  Cleveland,  O. 
(See  advertisement  on  page  264) 

National  Film  Service  (2) 

14  Glenwood  Ave.,  Raleigh.  N.  C. 
2614  Chamberlayne  Ave., 
Richmond,  Va. 

Post  Pictures  Corp.  (3) 

723  Seventh  Ave.,  New  York.  N.  Y. 
(See  advertisement  on  page  269) 

The  Princeton  Film  Center  (2) 

106  Stockton   St..  Princeton,  N.  J. 


Russell  C.  Roshon  Organization       (2) 

2506-H  RKO  Bldg.,  New  York,  N.Y. 

(See  advertisement  on  page  262) 

Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd..  St.  Louis,  Mo. 
(See  advertisement  on  page  264) 

Visual  Art  Films  (2) 

419   lunpire  Bldg..  Pittsburgli.  Pa. 

(See  advertisement  on  page  266) 

Visual  Education  Incorporated  (3) 

12th  at  Lamar,  .Austin.  Tex. 
Vocational  Guidance  Films,  Inc.       (2) 

2718  Beaver  .Ave..  Des  Moines.  la. 
Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Cliestnut  St.   Pliiladelphia.  Pa. 

Y.M.C.A.  Motion  Picture  Bureau    (3) 

347   Madison  .^ve..   New  York,  N.Y. 
19  S,  LaSalle  St.,  Chicago 
351   Turk  St.,   San  Francisco.  Cal. 
1700   Patterson   Ave.,   Dallas.  Tex. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (3) 

28.W  N.  Western  Ave..  Chicago.   111. 
(See  advertisement  on  page  271) 

Bell  &  Howell  Co.  (3) 

1815   Larchn)ont  .Ave..  Chicago.   111. 
(See  advertisement  on  page  232) 

Central  Education  Association  (1) 

123  S.  Washington  St.. 
Green    Bay,    Wis. 
DeVry  Corporation  (3,  6) 

1111   Armitage  Ave..  Chicago,  111. 
(See  advertisement  on  page  226) 

Eastman  Kodak  Stores,  Inc.  (3) 

Kodascope  Libraries 

356  Madison  Ave..  New  Y'ork,  N.  Y. 
General  Films,   Ltd.  (3,   6) 

1924  Rose  St.,  Regina,  Sask. 

156  King  St..  W.  Toronto 
Holmes  Projector  Co.  (3,  6) 

1813  Orchard  St.,  Chicago,   III. 

(See  advertisement  on  page  267) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  pages  250-251) 

RCA  Manufacturins;  Co.,  Inc.  (2) 

Educational   Dcpt.,  Camden,   N.  J. 
(See  advertisement  on  page  230) 

S.  O.  S.  Cinema  Supply  Corp.        (3   6) 

449  W.  42nd  St..  New  York,  N.  Y. 
Victor  Animatograph  Corp.  (3) 

Davenport  Iowa 

(See   advertisement   on    inside   front   cover) 

Visual  Education  Incorporated         (3) 

12th  at  Lan)ar,  .\ustin,  Te.x. 

Williams  Brown  and  Earle,  Inc.  (3  6) 

918  Chestnut  St.,  Philadelphia.  Pa. 

SCREENS 

Radiant  Mfg.  Company 

1144  W.  Superior  St., 
Chicago  22.  111. 

(See  advertisement  on  page  229) 

National  Film  Service 

14  Glenwood  Ave.,  Raleigh,  N.  C. 

2614  Chamberlayne  .Ave. 

Richmond.  Va. 
Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St.,  Chicago,  111. 

(See  advertisement  on  outside  back  cover) 

The  Stanley  Bowmar  Co. 

2929  Broadway,  New  York  25.  N.  Y. 

Williams,  Brown  and  Earle,  Inc. 

918   Chestnut   St.,   Philadelphia,   Pa. 


SLIDEFILMS 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago,  111. 
(See  advei-tisement  on  outside  baclt  cover 
and    page   253 1 

The  Stanley  Bowmar  Co. 

2929  Broadway.  New  York  25,  N.  Y. 
Visual  Sciences 

Suffern.   New   York 

(See  advertisement  on  page  266 1 

Williams,  Brown  and  Earle    Inc. 

918   Chestnut  St..    Philadelphia,   Pa. 

SLIDES  (KODACHROME  2x2) 

Colorcraft  Studios 

2174    N.    E.    Multnomali, 
Portland   12.   Ore. 

(See  advertisement  on  page  268) 

Klein  &  Goodman 

18  S.   lUth   St.,   Philadelphia,  Pa.  " 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago.  III. 

(See  advertisement  on  outside  baclt  cover) 

The  Stanley   Bowmar  Co. 

2929  Broadway,  New  York  25,  N.  Y. 

SLIDES  (STANDARD  3'/4  x  4) 

Ideal  Pictures  Corp. 

28   E.   Eighth   St..   Chicago,   111. 

(See  advertisement  on  pages  250-251) 

Keystone  View  Co. 

Meadville,   Pa. 

(See  advertisement  on  page  228) 

Radio-Mat  Slide  Co.   Inc. 

Zll  Oakridge  Blvd. 
Daytona  Beach.  Fla. 

(See  advertisement  on  page  266) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rocl)ester,  N  .Y. 

(See  advertisement  on   inside  back   cover) 

DeVry  Corporation 

1111   .Armitage  Ave..  Chicago,  111. 
(See  advertisemnt  on  page  2261 

General  Films  Ltd. 

1924  Rose  St.    Regina,  Sask. 
156  King  St.,  W.  Toronto 
Golde  Manufacturing  Co. 

1220  W.  Madison  St.,  Chicago,  111. 
( See  advertisement  on  page  265  I 

Keystone  View  Co. 

Meadville.  Pa. 

(See  advertisement  on  page  228) 

Society  for  Visual  Education  Inc. 

100  E.  Ohio  St..  Chicago.  III. 

(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  255) 

Williams    Brown  and  Earle,  Inc. 

918   Chestnut   St.,   Pliiladelphia.   Pa. 


REFERENCE  NUMBERS 

(I) 

indicates 

]6nini 

silent. 

(2) 

indicates 

16nini 

sound. 

(3) 

indicates 
silent. 

Umm 

sound  and 

(4) 

indicated 

35mm 

silent. 

<5) 

indicates 

35mm 

sound. 

(6) 

indicates 
silent. 

35mm 

sound  and 

Continuous  insertions  under  one  heading,  $2.00  per  issue;  additional  listings  under  other  headings,  $1.00  each. 


Bausch  &  Lomb  Triple  Purpose  Micro-Projector, 
the  simplest  of  several  models,  designedjor  teach- 
ing  an  entire  slass  with  a  single  slide. 


A  Single  Slide  Serves  Fifty  Students 


Today,  thousands  of  specialists 
must  be  trained  in  all  branches  of 
science . . .  and  they  must  be  trained  thoroughly  and 
quickly. 

This  calls  for  systematic,  uniform  training  .  .  . 
for  the  most  efficient  and  effective  use  of  available 
materials.  It's  a  place  where  micro-projectors  in  the 
hands  of  competent  instructors  can  save  hours  of 
instruction  time  .  .  .  make  slides  and  microscopes 
go  much  further. 

The  B&L  Triple  Purpose  Micro-Projector,  shown 
here,  is  an  example  of  the  type  of  teaching  tool  that 
is  finding  such  an  important  place  in  both  civilian 
and  military  war  training  courses.   It  is  another 


example  of  the  way  in  which  the  Bausch  &  Lomb 
skill  and  experience  in  the  manufacture  of  precision 
optical  instruments  for  peacetime  use  are  being 
applied  in  the  war  effort. 

Here  again,  because  of  its  wartime  accomplish- 
ments, Bausch  &  Lomb  will  be  able  to  extend  its 
optical  services  to  peacetime  pursuits  when  Vic- 
tory is  won. 

For  Bausch  &  Lomb  Instruments  essential  to 
Victory — priorities  govern  delivery  schedules. 

BAUSCH  &  LOMB 

OPTICAL  CO.   .   ROCHESTER,  NEW  YORK 
ESTABLISHED  1853 


tanrn^iriM 


9feie  H  k!  The  Perfect  Answer  to  a  Vital  War  Ne 


Prepared  by  fLXXHO  Magazine  for  Use  in 
Group  Instruction  Wlierever  Teaching  of 
Aircraft    Identification    Is    a    Vital    Work. 

This  complete  kit  of  336  slides  shows  students  how  to 
recognize  instantly  the  principal  fighting  planes  of  all 
major  air  powers.  The  Royal  Air  Force  uses  similar 
material  for  classes  in  identification.  The  slides  in  the 
S.V.E.  Kit  are  authentically  correct  and  up-to-date.  They 
were  made  under  the  direction  of  aeronautical  experts  of 
FLYING  magazine.  There  are  six  introductory  slides, 
and  three  silhouettes  of  each  plane — side  view,  bottom 
view,  and  front  view.  The  slides  are  2"  x  2"  and  can  be 
projected  by  any  S.V.E.  or  other  miniature  slide  projector. 


330  MINIATURE  SLIDES 
OF  PLANES  IN  USE  WITH 

U.  S.  ARMY  &  NAVY,  ROYAL  AIR 
FORCE,  BRITISH  FLEET  AIR  ARM, 
RUSSIA,  JAPAN,  AND  GERMANY. 


COVE! 

110 

DIFFERI 

TYPES  I 

mm 

With 

Three  Vie 

of  EacI 


Front  View 


COST  (WITH  CASE)  LESS  THAN  lie  PER  SLIDE 

The  complclc  kit,  including  336  slides  in  cardboard  binders,  in 
sturdy  case,  and  Instructor's  Manual  is  only  $35.00* — less  tha 
per  slide.  The  De  Luxe  Kit,  with  slides  permanently  mountt 
tween  glass  in  unbreakable  S.V.E.  .Slide  Binders,  will  be  $5J 
Order  today!  If  you  prefer  additional  information,  write  Depar 
9ES  for  illustrated  folder.   You  are  under  no  obligation. 

*Prires  subjert  to  change  without  notice. 

SOCIETY  FOR  VISUAL  EDUCATION,  In 

100  EAST   OHIO   STREET  •  CHICAGO,   ILLINO 

Manufacturers    *    Producers    •    Distributors    of    Visual    Aic 


EDUCATIONAL 


PubH.1 
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Teachers  Library       -^^ 


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OCTOBER.    1943 


Tomorrow's  Goal 

Sound  Motion  Pictures  for  All  Schools 


Our  armed  forces  have  learned  what  our 
schools  have  long  known,  that  talking  motion 
pictures  make  learning  easier,  shorten  the 
time  required  for  instruction  and  increase 
the  retention  of  important  facts.  Modern 
educators  have  looked  forward  to  the  day 
when  this  progressive  method  of  audio- 
visual instruction  will  be  available  for  all 
schools.  Of  course  every  projector  we 
make  TODAY  goes  to  the  Armed  Forces. 
But  TOMORROW  all  of  Ampro's  engineering 
skill  and  experience  will  be  directed  to  the 
constructive  task  of  helping  teachers 
teach.  Write  for  Ampro  Catalog  of  8  and 
16  mm.  precision  projectors. 

*  0^a^  14un  MonA 


Ampro  Corporation,  Chicago 


•  PtBtHon  Cine  Equipment 


The  EDUCATIONAL  SCREEN 


THE  EDUCATIONAL  SCREEN 
SUS 

Nelson*    L.   Greene,   -  -   -   Editor-in-Chief 

Evelyn  J.   Baker    -    Advertising  Manager 

Josephine  Hoffman     -    -    Office  Manager 

Department   Editors 

John  E.  Dugan     -    Haddon  Heights,  N.  J. 

Donald  A.  Eldridge    -     New  Haven,  Conn. 

WiLBER    Emmest     ...    -     Indiana    Pa. 

Hardy  R.  Finch     -    -    Greenwich,  Conn. 

Ann  Gale Chicago,   111. 

David  Goodman     -    -    New   York,  N.  Y. 

Josephine  Hoffman    -    -    -     Chicago,  111. 

L.   C.  Larson     ...     Bloomington,   Ind. 

F.  Dean  McClusky    -    Scarborough,  N.  Y. 

Etta  Scbneidek    -    -    New  York,   N.  Y. 

Editorial  Advisory  Board 

Ward  C.  Bowen,  Chief,  Bureau  of  Radio 
and  Visual  Aids,  State  Education  De- 
partment,  Albany,    N.   Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools.  San  Diego, 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  K.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division,  Uni- 
versity of  Wisconsin,  Madison,  Wis. 

James  S.  Kinder.  Director  PCW  Film 
Service,  Pennsylvania  College  for 
Women,   Pittsburgh,  Pa. 

Boyd  B.  Rakestraw,  .Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia, Berkeley,  Calif. 

Paul  C.  Reed,  U.  S.  Office  of  Education, 
Washington,   D.   C. 

Maj.  W.  Gayle  Starnes,  Chief.  Training 
Division,  Signal  Corps  Depot,  Lexing- 
ton, Ky. 

Lelia  Trolincer.  Secretary,  Bureau  of 
Visual  Instruction,  Extension  Division, 
University  of  Colorado,  Boulder,  Colo. 

W.  W.  Whittinghill,  Director  of  Trans- 
portation, Board  of  Education,  Detroit, 
Mich. 

SUBSCRIPTION  PRICE 

Domasiic  $2.00 

C«n«d«  „ «^ 

Foreign    _ $3.00 

SinqU  Copitt 25 


OCTOBER.   1943 


NUMBER    EIGHT 
WHOLE  NUMBER  215 


VOLUME  XXII 

Contents 

Cover  Picture — Autumn  Woods 

(Photograph  by  George  F.  Johnson) 

To  Your  Health,  Josel Maurice  Feuerlicht     285 

Visual  Aids  for  Mental  Hygiene John  B.  Geisel     289 


Freyda  Nacque-Adler     292 


Study  of  "Bambi" 

Inspires  Movie  Adaptation 


The  Film  and  International 

Understanding Edited  by  John  E.  Dugan  293 

Motion  Pictures — Not  for  Theatres Arthur  Edwin  Knows  295 

The  Post-War  World  Here- 
in Hand-Made  Lantern  Slides Ann  Sale  298 

School-Made  Motion  Pictures Conducted  by  Hardy  R.  Finch  299 

The  Literature  in  Visual  Instruction 

A  Monthly  Digest Conducted  by  Etta  Schneider  304 

Experimental  Research  in  Audio-Visual 

Education Conducted  by  David  Goodman  306 

News  and  Notes Conducted  by  Josephine  Hoffman  308 

New  Films  of  the  Month Conducted  by  L.  C.  Larson  310 

Current  Film  News 316 

Among  the  Producers „ 318 

Here  They  Arel   A  Trade  Directory  for  the  Visual  Field 320 


The  EDUCATIONAL  SCREEN  publislied  monthly  except  July  and  August  by  The 
Edueationel  Screen,  Inc.     Publication  Office,  Pontlac,  llllnoii;  Executive  Office,  64 
East  Lake  St.,  Chicago,  lllinoit.     Entered  at  the  Pott  Office  at  Pontiac,  lllinoit,  at 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lake  St.,  Chicago,  ML 


Page  280 


The  Educational  Screen 


This  film  of  an 

industry  at  war 

has  a  place  in  your 

visual  education 

program 

We  have  heard  much  of  the  conversion  of  Ameri- 
can industry  to  the  manufacture  of  war  materials. 
It  has  been  a  gigantic  task — a  task  which  the 
dictator  nations  did  not  beheve  we  could  or 
would  do. 

How  many  of  us,  adults  and  students  alike,  can 
visualize  what  that  task  involved — what  went  on 
in  a  plant  when  it  started  to  manufacture  bm- 
oculars  instead  of  refrigerators,  gun  mounts  as 
well  as  turbines? 

This  timely  film  shows  how  the  electrical  indus- 
try, for  example,  was  able  to  convert  its  enormous 
resources  to  war  production  in  record  time. 

It  is  a  dramatic  story  of  the  more  than  one 
hundred  thousand  men  and  women  of  Westmg- 
house  and  the  things  they  are  making  to  help  wm 
the  war.  More  than  a  Westinghouse  story,  how- 
ever,—it  is  the  story  of  a  great  key  industry  whose 
job  is  not  only  manufacturing  equipment  for  our 
armed  forces,  but  also  equipment  to  turn  the 
wheels  of  all  American  war  production  . . .  wheels 
which  are  turned  almost  solely  by  electrical  energy. 
Everyone  who  sees  this  picture  and  hears  John 
Nesbitt's  stirring  narration  will  realize  more 
clearly  why  we  are  fighting  .  .  .  appreciate  more 
fully  the  magnitude  of  the  task  the  war  has  im- 
posed upon  American  industry  and  how  effec- 
tively that  task  is  being  done. 

his  and  other  films  are  loaned  free  to  schools, 
Write  to  School  Service,  Westinghouse  Electric  & 
Manufacturing  Co.,  306  Fourth  Ave.,  P.  O.  Box 
1017,  Pittsburgh  (30),  Pa. 

W^stindiouse 

Plants  in  25  Cities  ^^  Offie.f  fvery«^li«r« 


October,   1943 


%  yofi^  JleaUk,  jo^! 


MAURICE    FEUERLICHT 

Chief,  Health  and  Medical  Film  Unit 

Coordinator  of  Inter-American  Affairs,  New  York  City 


Page   28  5 


Health,  Medical  and  Dental 
Films  for  the  other  Americas 

Revealing   account  oi   great   educational 
achievement  by  films  in  Latin  America. 


NEAR  Maracaibo,  Venezuela,  more  than  a  thous- 
and citizens  of  the  little  mountain  village  of 
La  Mesa  de  Esnejaque  gathered  before  a  motion 
picture  screen  in  the  Plaza  Bolivar.  For  most  of  the 
audience,  these  were  the  first  movies  they  had  ever 
seen.  Then  tragedy  struck.  There  was  not  sufficient 
voltage  to  run  the  film  projector !  There  were  cries 
of  disajjpointment  and  the  Venezuelan  equivalent  of 
our  hall-park  custom  of  rhythmic  handclapping  to 
show  impatience.  The  owner  of  the  local  power 
station  had  all  the  street  and  park  lights  turned 
oflf.  His  assistants  hurried  through  the  streets  like 
Paul  Revere,  knocking  on  doors  and  asking  housewives 
to  turn  out  all  their  lights  so  there  would  be  enough 
power  to  run  the  projector.  The  show  must  go  on. 
Tt  did. 

One  of  the  films  for  which  the  audience  clapped  and 
cheered  was  the  .story  of  a  Spanish  speaking  family 
in  Texas,  which  conquered  tuberculosis  after  the  local 
doctor  and  priest  showed  them  that,  if  they  knew  what 
to  do,  the  disease  would  not  bring  death. 

A  few  days  later  the  Maracaibo  Herald  jiraised  an 
account  of  the  show,  and  a  local  radio  commentator 
praised  the  United  States  for  sending  such  a  palatable 
form  of  health  education  to  Venezuela.  Several  local 
schools  asked  for  showings  and  Venezuelan  Health 
Departments  offered  the  film  as  inducement  to  attend 
free  clinics  and  lectures  on  tuberculosis  control. 

This  film,  entitled  "Cloud  In  The  Sky."  was  pro- 
duced by  the  National  Tuberculosis  Association  and 
has  also  been  shown  widely  to  non-theatrical  audiences 
in  the  United  States.     It  is  only  one  of  approximately 


two  dozen  16mm.  sound  films  on  health  subjects  which 
the  Health  and  Medical  Films  Unit  of  the  Office 
of  Coordinator  of  Inter-American  AtTairs  is  exhibit- 
ing throughout  other  American   republics. 

We  have  adapted,  in  Spanish  and  Portuguese,  films 
which  we  iiave  found  to  be  successful  in  fighting 
disease  in  the  United  States.  Helping  us  in  the  work 
of  sharing  our  health  weapons  with  our  good  neighbors, 
have  been  such  organizations  as  the  American  Social 
Hygiene  Association,  the  American  .Society  for  the 
Control  of  Cancer,  the  National  Society  for  the  Pre- 
vention of  Blindness,  the  United  States  Public  Health 
Service  and  the  Pan-.American  Sanitary  Bureau.  Many 
of  the  films  we  have  produced  ourselves  and  have  made 
them  available  for  showing  in  the  United  States 
through  national  health  organizations  and  the  United 
States  Public  Health  Service. 

In  addition  to  films  showing  the  general  public 
how  to  fight  cancer,  malaria,  tuberculosis  and  otiier 
disease,  we  have  joined  forces  with  the  American 
College  of  .Surgeons  to  prepare  teaching  films  for 
tiie  medical  profession.  With  the  aid  of  Dr.  Malcolm 
T.  MacEachern,  Associate  Director,  and  Miss  Eleanor 
K.  Grimm,  in  charge  of  film  for  the  Board  of  Regents 
of  the  American  College  of  Surgeons,  we  have  under- 
taken a  joint  project  for  the  adaptation  of  a  collection 
of  sixty-seven  of  the  finest  surgical  teaching  films 
ever  made  in  color,  to  show  before  Latin  American 
medical  societies  and  medical  schools.  Under  the  gui- 
dance of  Dr.  Daniel  F.  Lynch.  Chairman  of  the  Pan- 
American  Relations  Committee,  the  American  Dental 
.\ssociation  is  helping  us  prepare  films  of  comparable 


One  of  the  many  open 
air  exhibitions  of 
16mm  motion  pictures 
given  in  Montevideo, 
Uruguay,  during  the 
summer  months  with  an 
attendance  of  500  to 
5,000    per   exhibition. 


Page  286 


The  Educational  Screen 


Walt  Disney  during  his  recent  trip  to  Latin  America,  gathering 
material  for  films  to  be  used  in  the  good  neighbor  program. 

quality  for  exhibition  before  dental  societies  and 
schools. 

During  the  past  year  more  than  2.800  programs 
of  health  and  medical  films  have  been  seen  by  over 
1,000,000  persons  throughout  South  America.  The 
films  have  been  shown  in  public  squares  and  before 
municipal  police,  soldiers,  sailors,  government  work- 
ers, hospital  patients,  nurses'  schools,  teachers'  schools 
and  in  public  schools  and  theatres.  Other  audiences 
have  been  high  school  and  university  students,  govern- 
ment cabinet  officers,  members  of  beneficent  societies, 
athletic  clubs,  prisoners,  members  of  local  Rotary  Clubs 
and  other  civic  organizations.  More  than  one  hundred 
mobile  film  units  in  sound  film  trucks  owned  by  com- 
mercial firms  have  brought  our  modern  medicine  show 
to  hitherto  unreached  Latin  American  by-ways. 

It  is  a  fair  question  for  a  taxpayer  of  the  United 
States  to  ask,  "Why  .should  we  worry  about  the  health 
of  people  in  South  America?  Our  Own  national  health 
could  stand  plenty  of  improvement.  I  don't  see  why 
my  taxes  should  pay  for  movies  in  Spanish  and  Port- 
ugese on  subjects  like  cancer  and  syphilis  and  I  cer- 
tainly don't  understand  why  such  things  are  part  of 
our  war  effort.     Seems  pretty  far  fetched  to  me." 

The  fellow  who  pays  the  bills  has  a  right  to  know 
why  our  health  films  activity  is  not  merely  an  esoteric 
form  of  wartime  boon-doggling  and  why  a  film  on 
malaria  shown  in  Brazil  is  important  to  us  in  the 
United  States. 

In  sharing  our  tools  of  knowledge  and  in  joining 
other  American  Health  Ministries  in  the  fight  on  our 
common  health  problems,  we  are  not  only  helping  our 
neighbors  to  help  themselves ;  we  are  also  helping  our- 
selves  in  a  justifiably   selfish  way. 

The  other  Americas  are  producing  war  materials 
vital  to  the  United  Nations  war  effort  all  over  the 
world.  Their  production  of  tin  and  other  minerals, 
rubber,  quartz  crystal,  industrial  diamonds,  foods  such 
as  coffee  and  bananas,  and  essential  life  saving  medi- 
cines such  as  quinine,  bismuth  and  iodine,  provide  the 
weapons  and  the  sustenance  for  our  armies  and  save 
the  lives  of  countless  casualties. 


Production  of  these  resources  depends  largely  on 
the  health  of  Latin  American  workers.  They  labor  in 
areas  and  under  conditions  which  reduce  their  out- 
put because  of  the  ravages  of  dysentery,  malaria, 
typhoid  and  other  devitalizing  diseases.  Many  areas 
cannot  be  maintained  for  productive  use  unless  sani- 
tation education  gives  the  inhabitants  knowledge  of 
the  methods  for  overcoming  these  health  menaces. 
Hence,  the  health  of  our  southern  neighbors  is  a 
powerful  weapon  in  our  own  behalf. 

However,  Latin  America  is  not  a  disease-ridden 
nightmare.  Its  doctors  and  .scientists  have  much  to 
teach  us.  We  have  no  right  to  be  patronizing  in  our 
health  films.  We  are  merely  providing  the  means  by 
which  our  neighbors  can  fight  their  battles  for  their 
<(wn  sake  and  with  benefit  to  us. 

In  health  and  medical  films  we  are  translating  the 
nebulous  term  '"good  will"  into  very  practical  benefits. 
A  healthy  country  is  usually  a  strong  country.  For 
strategic  reasons  the  other  American  republics  are 
important  to  our  security.  Unlike  the  Axis,  we  do 
not  try  to  make  our  neighbors  weak  satellite  nations ; 
we  seek  to  make  them  strong.  By  helping  them, 
'■good  will'  results,  without  flattery  and  without  inti- 
midation. By  helping  to  make  strong  neighbors  who 
are  naturally  friendly,  we  provide  an  eloquent  ex- 
ample of  democratic  cooperation.  In  a  recent  poll  of 
industrial  groups  in  Buenos  Aires,  films  on  scientific 
and  health  subjects  were  voted  the  most  popular  non- 
theatrical  films  of  all  those  sponsored  by  the  Coordina- 
tor's Office.  The  effect  is  not  lost  on  our  realistic 
southern  neighbors,  when  it  is  contrasted  with  the 
fear  and  intimidation  by  which  Axis  films  seek  to 
sell  Nazism.  That  is  why  the  malaria  film  "Winged 
Scourge,"  produced  for  us  by  Walt  Disney  with  the 
aid  of  the  Seven  Dwarfs,  is  helping  us  win  the  propa- 
ganda war  in  South  America  against  German  films  like 
Victory  In  The  West. 

Perhaps  one  of  the  greatest  justifications  for  spend- 
ing the  United  States  taxpayer's  money  on  Latin 
American  health  films  results  in  the  protection  from 
disease  which  we  afford  John  Q.  Public,  U.S.A.  When 
this  war  is  over,  our  armies  will  return  with  the  ac- 
claim attending  victory,  and  as  they  scatter  to  every 
town  and  village  in  the  United  States,  they  may  carry 
the  scourge  of  malaria — a  di.sease  which  may  become 
the  greatest  epidemic  scourge  in  our  history. 

Disease  is  the  world's  greatest  traveller.  The  fallacy 
of  our  thinking  regarding  tropical  diseases,  is  that  very 
many  of  them  just  are  not  tropical.  Malaria  is  one  of 
the  greatest  killers  known  to  men.  It  is  estimated 
that  more  than  3,000,000  people  a  year  die  of  it. 
Many  times  that  number  are  victims  who  live  to  drag 
out  their  lives  .subject  to  the  incajmcitating  torture  of 
recurrent  chills  and  fever.  This  disease  can  be  carried 
through  the  United  States.  Thousands  of  persons 
die  or  are  disabled  by  it  yearly  in  our  southern  .states, 
and  epidemic  outbreaks  have  occurred  in  California, 
Connecticut  and  Iowa  in  years  past. 

Dr.  Marshall  Barber,  a  great  malaria  authority,  has 
said,  "There  is  no  doubt  that  this  invasion  of  gambiae 
threatens  the  Americans  with  a  catastrophe  in  com- 
parison with  which  ordinary  pestilence,  conflagration, 


October,   1943 


Page  287 


or  even  war  are  but  small  and  temporary  calamities." 

If  our  films  induce  the  inhabitants  of  malaria-ridden 
areas  to  destroy  malarial-mosquito  breeding  places 
adjacent  to  our  military  bases  in  the  other  Americas, 
who  will  say  how  man)-  lives  we  niay  have  spared  in 
Keokuk,  Iowa? 

Motion  pictures  are  the  most  appropriate  and  effec- 
tive means  of  waging  our  health  war  in  the  other  Ameri- 
can republics.  Those  per.sons  most  in  need  of  health 
and  also  most  susceptible  to  the  promises  of  a  so-called 
better  life  extended  by  .Axis  propagandists,  are  persons 
of  lower  economic  status,  many  living  in  rural  areas 
where  adequate  medical  care  is  not  available.  It  is 
among  these  people  that  illiteracy  sustains  its  highest 
rates.  Consequently,  the  citizens  of  the  other  Americas 
who  are  most  important  to  us  are  tho.se  who  cannot  be 
reached  by  the  printed  word  and  who  do  not  own 
radio  sets.  To  these  persons  films  offer  the  most  vivid 
presentation  possible  and  one  that  is  not  dependent  on 
the  ability  to  read.  Films  are  doubly  effective  because 
of  their  emotional  appeal  and  because  they  show  what  to 
do  and  how  to  do  it.  It  is  appropriate  that  this  country, 
which  pioneered  in  the  development  and  ]3rogress  of 
the  motion  pictures  with  its  mass  appeal  should  rely  on 
the  motion  picture  to  sustain  the  democratic  system  in 
this  and  other  countries. 

How  do  health  films  help  ?  The  debilitating  lassitude 
of  hookworms  is  attacked  by  film  showing  how  to  build 
simple,  sanitary  privies  which  break  the  hookworm 
cj'cle  of  diseased  man,  to  earth,  back  to  man.  Does  it 
work?  Doctors  of  the  Rockefeller  Foundation  reduced 
the  incidence  of  hookworm  in  vast  areas  of  the  South 
Pacific  by  stimulating  the  construction  of  such  privies. 
However,  they  found  that  unless  lectures,  charts, 
movies  and  other  educational  devices  brought  an  under- 
standing of  the  nature  of  the  disease  and  why  privies 
should  be  used,  inhabitants  of  the  infected  islands 
ignored  them.  Films  on  malaria  show  how  to  find 
malarial-mosquito  breeding  places  and  present  simple 
home-made  methods  for  killing  larvae.-  Films  on  ty- 
phoid emphasize  the  danger  of  unsanitary  sewage  dis- 
posal and  the  menace  of  the  fly  which  carries  the  germ 
from  exposed  infected  refuse  to  man's  food.  Other 
insect  borne  and  filth  born  diseases  are  fought  by  films 
illustrating  graphically  the  vulnerable  point  in  the  dis- 
ease cycle  at  which  attack  can  successfully  break  the 
circle. 

Films  on  .syjihilis  indicate  the  ravages  of  the  disease, 
providing  powerful  persuasion  to  the  thoughtless,  to 
exercise  personal  restraint  and  caution.  Venereal  dis- 
ease clinics  for  controlling  the  spread  of  the  disease  are 
championed  by  films  showing  that  it  costs  a  community 
less  to  cure  syphilis  than  to  ignore  it. 

The  mere  exhibition  of  health  films  is  valueless  un- 
less concrete  beneficial  results  may  be  directly  attrib- 
uted to  their  use.  The  field  of  public  health  is  one  of 
the  few  in  which  it  is  possible  to  establish  a  clear 
relationship  between  films  and  results. 

A  few  weeks  ago,  one  of  our  films  on  syphilis  was 
shown  at  the  School  of  Medicine  in  Port-au-Prince. 
Haiti.  ,\  group  of  leading  citizens  of  Haiti  was  invited 
to  a  second  .screening.  In  a  meeting  held  after  the 
showing,    the    group    formed   a    national    anti-syphilis 


league  and  at  once  made  preliminary  plans  for  a  pro- 
gram to  reduce  the  national  venereal  disease  rate. 

In  Guayaquil,  Ecuador,  Dr.  Mauro  Madero  Mo- 
reria.  Director  of  School  Hygiene  of  the  Province  of 
Guyas,  was  so  impressed  with  our  health  films  that  he 
arranged  with  two  local  theaters  for  the  exhibition  of 


Three  scenes  from  Walt  Disney's  production,  "The  Winged 

Scourcp  "  a  f^lr-  on  r-alaria,  made  under  the  auspices  of  the 

Office  of  Coordinator  of  Inter-American  Affairs. 


Page  288 


The  Educational  Screen 


the  films  to  all  the  primary  school  children  of  the  city. 
All  municipal  and  private  night  schools  were  invited  to 
attend  these  showings  and  suhsequently  local  religious 
schools  asked  to  be  invited.  The  Olmado  Theater  with 
a  capacity  of  1800  and  the  Nuevo  de  Octubre  Theater 
with  a  capacity  of  1500  booked  showings  in  the  morn- 
ings, so  that  there  would  be  no  interference  with  their 
commercial  programs.  The  theater  owners  were  so 
pleased  with  our  gesture  of  interest  in  the  health  of 
Ecuadoran  children  that  they  refused  to  charge  a  fee 
for  use  of  the  theaters.  Within  two  weeks  the  health 
films  were  seen  by  16,533  students.  The  films  elicited 
highly  favorable  comment  in  the  local  newspapers. 

Our  records  reveal  that  in  addition  to  forming  the 
program  basis  for  tuberculosis,  cancer,  syphilis  and 
child  health  clinics  and  conferences,  the  films  have  been 
most  useful  in  stimulating  local  groups  to  undertake 
programs  of  a  more  lasting  nature.  In  Santiago,  Chile, 
it  was  found  that  clinic  attendance  increased  immedi- 
ately after  our  screenings  and  the  increase  was  main- 
tained— an  important  consideration  in  all  clinic  treat- 
ment. 

Prior  to  this  war  European  medical  schools  were 
predominating  influences  over  Latin  American  surgery. 
As  a  result  of  the  surgical  and  dental  film  programs 
undertaken  in  collaboration  with  the  American  College 
of  Surgeons  and  the  American  Dental  Association,  we 
are  dissipating  the  highly  inaccurate,  A.xis-fostered 
notion  that  our  medical  and  dental  schools  are  inferior, 
and  we  are  helping  to  establish  United  States  schools 
in  their  rightful  place  of  world  pre-eminence. 

Health  films  are  excellent  spokesman  for  democracy 
because  good  health  is  sound  democracy ;  if  we  stimu- 
late the  former,  we  strengthen  the  latter.  Personal 
health  cannot  be  given  to  others.  We  can  only  induce 
in  others  the  desire  for  it  and  the  knowledge  of  how 
to  achieve  it.  This  is  true  of  democracy  also.  A  gov- 
ernment for  the  i)eople  which  is  not  a  government  by 
the  people  is  no  democracy. 

Health  cannot  be  bought  by  the  sudden  incursion  of 
financially  well-heeled  would-be  benefactors  seeking  to 
pay  so  many  millions  for  hookworm  in  order  to  eradi- 
cate it  overnight.  Democracy  caniiot  be  bought  by 
offering  cash  or  subsidies.  Neither  health  nor  democ- 
racy can  be  imposed  in  any  way  on  people. 

Democracy  is  founded  on  the  welfare  of  the  in- 
dividual, as  opposed  to  Fascism,  which  dedicates  the 
individual  to  the  welfare  of  the  State.  By  giving  fac- 
tual health  films  to  the  people  of  South  America,  we 
demonstrate  our  faith  in  the  wisdom  of  the  individual 
to  choose  freely  those  objectives  most  advantageous  to 
him — his  health  and  his  freedom.  That  is  whv  the 
gesture  of  health  films  are  democratic  ])ropaganda — and 
like  any  superior  product,  democracy  is  winning  cus- 
tomers from  inferior  brands. 

Typical  Films  in  Distribution 

by  Health  and  Medical  Film  Unit.  Office  of  C.I.A.A. 

Choose  To  Live — Produced  by  the  United  States  Public  Health 
Service  and  the  American  .Society  for  the  Control  of 
Cancer.  Spanish  and  Portuguese  versions  prepared  by 
CIAA. 


Body  Defenses  Against  Disease — Produced  by  Electrical  Re- 
search Products  Inc.     Spanish  and  Portuguese  versions. 

Heart  and  Circulation — Produced  by  P^lectrical  Research  Prod- 
ucts Inc.,  Spanish  and  Portuguese  versions. 

Cloud  In  The  Sky — Produced  by  the  National  Tuberculosis 
Association.     Spanish  version  prepared  by  CIAA. 

With  These  Weapons — Spanish  version  produced  by  the  .Ameri- 
can Social  Hygiene  Association. 

About  Faces — (Dental  Care)  Presented  by  the  United  States 
Public  Health  Service — Spanish  and  Portuguese  versions 
prepared  by  CIAA. 

Diaynostic  Procedures  In  Pulmonary  Tuberculosis — Produced 
by  the  National  Tuberculosis  Association.  Basic  techniciues 
for  doctors  presented  by  international  authorities.  Spanish 
and   Portuguese  versions  CIAA. 

Syphilis — Three  part  teaching  film  in  sound  and  color  for  pro- 
fession only,  produced  by  the  U.  S.  Public  Health  Service 
with  the  aid  of  a  board  composed  of  the  leading  syphil- 
ologists  of  the  United  States.  Spanish  and  Portuguese 
versions  CIAA. 

Fight  Syphilis — Community  control  of  venereal  disease.  Joint 
project  with  the  U.  S.  Public  Health  Service,  Spanish  and 
Portuguese  versions   CIAA. 

Know  For  Sure — Produced  through  the  Motion  Picture  -Acad- 
emy of  Arts  and  Sciences,  under  the  supervision  of  Darryl 
Zanuck  and  Lewis  Milestone  for  the  U.  S.  Public  Health 
Service  and  the  Motion  Picture  Division  of  the  Coordina- 
tor's Office  for  restricted  showing.  Spanish  and  Portu- 
guese versions  CIAA. 

Another  To  Conquer — A  two-reel  film  on  control  of  tubercu- 
losis, produced  by  the   National   Tuberculosis  Association. 
Spanish  and  Portuguese  versions  CIA.A. 
(.About   two  dozen   other   film   subjects   not   included   in   our 

regular  program   have  been   shown  on   request  before   medical 

and  dental  conventions  and  for  special  occasions  such  as  Pan- 

.Anierican   Health   Day.) 

Films  In  Production 

American  College  of  Surgeons  Project — 6  medical  and  surgical 
teaching  films  being  collected  and  reviewed  for  approval 
by  the  Reviewing  Committee  of  the  .American  College  of 
Surgeons,  under  supervision  of  Miss  Eleanor  K.  Grimm, 
Secretary,  Board  of  Regents. 

Three  Disney  Health  Films — Three  films  produced  by  C.I. A. .A. 
of  instructional  nature  combining  both  live  action  and  ani- 
mation in  color.  The  films  are  on  the  subjects  of  malaria 
control,  water  supply  and  immunization  against  disease. 
Spanish  and  Portuguese  versions  of  Winged  Scourge  are 
being  prepared  by  the   Disney   Studios. 

■Eyes  For  Tomorrow — Film  produced  by  C.I. A. -A.  for  the 
general  public  on  prevention  of  blindness  and  conservation 
of  sight,  undertaken  with  the  assistance  of  the  National 
Society  for  the  Prevention  of  Blindness. 

Nursing  the  Americans — Film  produced  by  C.I. .A. A.  for  the 
general  public  and  designed  primarily  to  show  the  medical 
profession  the  scope  of  training  received  by  competent 
nurses,  including  nurses'  ability  to  accept  responsibilities 
in  aiding  the  profession  and  the  public.  Film  undertaken 
in  cooperation  with  Joint  Committee  on  Inter-American 
Nursing.  Camera  work  completed — film  is  being  titled  and 
edited. 

Letters  To  Clara  Maass—¥\\m  produced  by  C.I.A.A.  for  the 
general  public  designed  to  recruit  nurses.  Also  undertaken 
with  the  assistance  of  the  Joint  Committee  on  Inter- 
.American  Nursing,  composed  of  representatives  of  National 
Association  for  Nursing  Education,  Rockefeller  Foundation, 
International  Health  Board.  .American  Red  Cross  and 
Women's  Bureau  of  the  Department  of  Labor. 

Help  JVantcd— First  aid  film  produced  by  Johnson  &  Johnson 
being  adapted  in  Spanish  and  Portuguese. 

Child  Health  Conference — .Adaptation  of  this  film  is  in  work, 
showing  how  the  County  Health  Clinic  is  conducted. 


October,    1943 


Page  289 


Visual  Aids  for 
Mental  Hygiene 


Place  of  films  in  teaching  morale  and 
behavior,  limited  material  now  avail- 
able, and  kind  of  production  needed. 


JOHN   B.    GEISEL 

Principal,  Orthogenic  School 
University  of  Chicago 


THE  increasingly  prevalent  lack  of  concentra- 
tion, emotional  instability,  and  uncertainty 
about  the  future  among  high  school  students 
nowadays  indicates  a  need  for  increased  effort  to 
help  adolescents  keep  up  their  morale.  To  this  end 
the  growing  number^  of  courses  in  mental  hygiene, 
psychology,  personal  problems,  and  human  rela- 
tions may  render  large  service,  for  improved  morale 
is  their  ultimate  goal,  to  be  achieved  through  under- 
standings and  techniques  in  persona]  and  social 
adjustment.  These  courses  help  students  under- 
stand the  motivation  for  their  own  and  others'  be- 
havior and  suggest  ways  for  improvement.  They 
would  doubtless  be  even  more  effective  than  current 
reports  indicate^  if  they  were  accompanied  by  a 
number  of  excellent  visual  aids. 

The  use  of  films  in  connection  with  mental 
hygiene^  is  especially  recommended  because  of  the 
very  nature  of  the  subject  matter.  Since  it  deals 
with  human  behavior,  it  will  ever  defy  complete 
description.  The  printed  page  of  a  textbook  cannot 
convey  the  whole  response  one  makes,  for  example, 
to  a  rebuff  or  to  approval.  Nor  can  it  portray  the 
whole  complex  of  causes  that  lead  to  the  behavior 
of  two  or  more  persons  involved  in  such  a  situation. 
At  best  only  the  salient  features  are  mentioned.  If 
the  reader  has  sufficient  experience  and  imagination, 
he  may  be  able  to  visualize  the  behavior  situation 
from  the  printed  page :  but  this  is  difficult  for  ado- 
lescents. Students  need  visual  concepts  of  behavior 
before  they  can  understand  its  causes.  The  quality 
of  the  textbook,  the  genius  of  the  teacher,  the  ex- 
perience and  imagination  of  the  student  are  but  a 
few  of  the  more  important  factors  involved  in  the 
formation  of  visual  concepts  in  analyzing  behavior. 

ijohn  B.  Geisel,  "Mental  Hygiene  in  the  High-School  Curri- 
culum," bulletin  of  the  National  Assnciation  of  Secondary- 
School  Principals.  XXVH   (May,  1943),  82-88. 

^Ibid.,  pp.  86-88. 

*The  term  "mental  hygiene"  is  used  throughout  the  discussion 
here  as  an  expedient  to  avoid  repeated  enumeration  of  the  vari- 
ous courses  now  dealing  with  motivation  of  behavior.  Within 
this  term  are  comprehended  all  such  courses  as  human  relations, 
personal  and  social  problems,  psychology,  group  guidance,  and 
also  units  in  other  courses  that  deal  with  the  student's  under- 
standing of  himself  and  others  for  the  purpose  of  personal  and 
social  adjustment. 


An  act  of  courtesy  in  the  school  corridor — from  the  Forum 
Films  production  "Courtesy  Comes  to  Town." 

To  compensate  for  the  limitations  inherent  in  these 
variable  factors  visual  aids  are  needed. 

A  well-planned  tilm  can  supply  the  dynamic  pat- 
terns of  behavior-going-on  that  are  not  provided 
by  the  printed  page;  it  can  supplement  the  creative 
stimulation  of  the  teacher  and  the  imagination  of 
the  student.  The  filmstrip  can  serve  as  an  oi)jec- 
tive  record  of  the  subject  matter.  It  remains  un- 
changed through  repeated  projections.  It  can  be 
stopped  at  any  moment,  and  the  interplay  of  sul)- 
jective  and  subtle  forces,  so  hard  to  delineate  in 
other  media,  can  be  studied  part  by  part  throughout 
the  social  situation.  High  school  students,  whose 
experience  is  limited  and  whose  understanding  of 
self  is  generally  curtailed  by  an  incapacity  for  self- 
criticism,  get  indelible  sensory  data  from  the  con- 
crete examples  of  behavior-going-on  in  the  moving 
picture. 

Descriptions  in  textbooks  or  conversations  are 
relatively  abstract.  The  effectiveness  of  teacher 
and  textbook  in  mental  hygiene  and  similar  courses 
depends,  first  of  all,  upon  the  student's  visual 
imagery  of  the  action  under  discussion.  Seeing  the 
action  unfold  on  the  screen  is  getting  sensory  im- 
pressions of  patterns  and  dynamic  continuums,  data 
fundamental  to  understanding  of  behavior.  It  is 
this  dynamic  and  going-on  quality  that  makes  the 
study  of  behavior  distinctly  unique  among  high 
school  subjects,  and  aI.so.  for  the  same  reason,  most 
difficult,  however  interesting.  The  very  nature  of 
the  subject  thus  points  to  the  greater  value  to  be 
gained  from  visual  aids. 

Attention  is  therefore  called  in  this  paper  to  the 
few  suitable  films  that  are  available  at  this  time. 
An  annotated  bibliography  which  follows  may  be 
of  help  in  the  teaching  of  courses  or  units  in  mental 
hygiene.  The  implicit  recommendation  here  that 
these  films  should  be  made  use  of  will  be  qualified 
by  certain  reservations  in  sub.sequcnt  discussion. 
Also,  the  limitations  of  currently  available  visual 
aids  will  lead  to  certain  suggestions  about  the  type 
of  films  needed  in  this  field  of  study.    To  be  specific. 


Page  290 


The  Educational  Screen 


a  few  illustrations  of  possible  film  strips  will  be  out- 
lined. Our  consideration  of  visual  aids  in  mental 
hygiene  leads  us,  then,  (1)  to  listing  films  now  avail- 
able, (2)  evaluating  them,  and  (3)  suggesting  what 
may  be  done  in  the  future. 

Recommended  Films 
The  list  does  not  include  an)-  of  the  many  films, 
which  are  designed  for  vocational  guidance.  Their 
factual  and  informational  emphasis  reflects  a  fairly 
complete  ignorance  of  the  primary  and  fundamental 
importance  of  personal  adjustment  in  successful 
vocational  adjustment.  Analytical,  rather  than  in- 
formational films  that  deal  with  the  normal  prob- 
lems of  normal  youngsters  in  personal  and  social 
relationships,  were  sought.  Unfortunately,  very  few 
suitable  ones  were  found.  Though  the  teaching  of 
mental  hygiene  in  the  secondary  school  is  no  longer 
in  its  infancy,  the  development  of  visual  aids  for 
this  work  has  hardly  begun.  Indeed,  the  few  films 
listed  were  not  planned  to  focus  attention  upon  the 
basic  problems  with  which  a  high  school  course  in 
mental  hygiene  deals.  However,  until  such  time  as 
better  ones  are  produced,  these  may  be  used  to 
advantage.    All  are  16mm  films. 

Abraham   Lincoln — 2    reels,   silent.    (Eastman    Kodak 
Co.,   Teaching    Films    Division) — A    portrayal   of 
leadership  that  may  be  used  advantageously  in  dis- 
cussing the  behavior  elements  of  both  leadership 
and  followership. 
Courtesy   Comes   to    Town — 2   reels,    sound.    (Forum 
Films) — The  value  of  courtesy  in  social  and  busi- 
ness life   is  graphically   enacted   in   this   film   and 
provides  opportunities  for  analyses  in  class. 
Early  Social  Behavior — 1  reel,  sound  (Erpi  Classroom 
Films) — This  film  has  been  used  successfully  in 
senior   high    school    classes    studying    psychology. 
Responses  of  infants  and  young  children  to  novel 
and  social  situations  make  up  the  content. 
Honesty  Is  the  Best  Policy? — 1  reel,  silent.     (  Harmon 
Foundation) — Suitable    to   precede    discussion    on 
fairness,  honesty,  and  consideration  for  others. 
Not  One  Word — 1  reel,  silent   (Harmon  Foundation) 
A  study  of  jealousy  in  which  the  emotions  of  fear 
and  anger  are  shown  through  action. 
Opportunity  Knocks — 1  reel,  silent  (  Harmon  Founda- 
tion)— A  real  life  situation  involving  honesty  and 
behavior  under  conflicting  loyalties. 
The  Human  Relations  Series  of  Films.   This  series  of 
forty-one  excerpts  from  Hollywood  feature  movies 
produced  between  1930  and  1938.  is  available  from 
Teaching    Film    Custodians,    Inc.      Most    of    this 
series  are  more  suitable  for  adult  discussion  groups, 
but   some   excerpts   can   be   used   effectively   with 
adolescents.   A  few  of  the  latter  are  given  here: 
Alice    Adams    (Money    Sequence) — 2    reels,    sound — 
Financial  difficulties  and  family  troubles  make  this 
film  a   fruitful   source  for  discussion  and  under- 
standing of  motivation  in  behavior. 
Black  Legion — 2  reels,  sound — Difficulties  arise  when 
a  factory  worker  becomes  envious  because  another 
man  is  promoted  in  his  place. 
Captains     Courageous     (School    Sequence) — 2    reels, 
sound — A  spoiled  boy  bribes  others  to  get  his  own 
way.    He  is  rejected  by  his  schoolmates. 


Photograph  by  Kenneth  F.  Space 

Production   unit   at   work    on   the   Harmon    Foundation    film, 
"Honesty  Is  the  Best  Policy?" 

Educating  Father,   yi   reel,   sound—Evidence  of  jeal- 
ousy.    Old  versus  young  in  a  conflict  over  choice 
of  career. 
The  Good  Earth  (Famine  Sequence) — Ij^  reels,  sound 
— A  film  showing  how  the  desire  for  self-preser- 
vation activated  the  Chinese  in  famine. 
Additional  titles,  recommended  by  the  Commission 
on    Human    Relations    of    the    Progressive    Education 
Association  for  use  in  senior  high  school,  are  the  fol- 
lowing (figures  indicate  numbers  of  separate  excerpts 
from  the  same  movie)  -.Arroivsmith,  Ceiling  Zero  (2), 
Cradle  Song,  Dead  End  (2),  The  Devil  Is  a  Sissy  (2), 
A  Family  Affair,  Four  Daughters,  Fury  (3),  Hit  and 
Run  Driver,  I  Am  a  Fugitive  jrom  a  Chain  Gang  (3), 
//  /  Had  a  Million,  The  Informer,  La  Maternelle,  The 
Last  of  the  Pagans  (3)  The  Life  of  Emile  Zola,  Make 
Make  Way  for  Tomorrow,  Men  in  White,  The  Road  to 
Life,  Rnggles  of  Red  Gap,  The  Story  of  Louis  Pasteur, 
(2)   White  Angel,  White  Banners  "(2),  Wild  Boys  of 
the  Road,  and  Woman  Against  Woman. 

Of  these  films  it  may  be  said  that  their  usefulness 
in  connection  with  mental  hygiene  courses  is  lim- 
ited by  one  or  more  of  the  following  characteris- 
tics :  ( 1 )  They  deal  with  abnormal,  rather  than 
normal  deviations  in  behavior,  (2)  They  present 
complex  than  than  simple  or  elemental  behavior 
situations,  (3)  Motivation  is  inadequately  devel- 
oped within  the  excerpt,  (4)  The  film  is  blurred 
and  sound  recjuires  strained  attention,  (5)  They 
stimulate  general  discussions  rather  than  analyses 
of  specific  elements,  and  (6)  They  are  more  suitable 
for  adult  discussion  groups.  The  same  limitations 
also  apply  to  some  extent  to  the  annotated  excerpts 
given  above. 

It  is  unfortunate  that  a  survey  of  the  field  provides 
so  meager  a  list  of  visual  aids  for  mental  hygiene 
courses.  However,  the  titles  given  are  better  than 
nothing,  because  they  do  contain  dynamic  visual 
material  which,  with  the  guidance  of  the  teacher, 
can  serve  to  supplement  the  more  abstract  descrip- 
tions in   textbooks.     Adroitly  used,  they  can  provide 


October,  1943 

objective  data  for  discussion,  stimulation  for  furtiier 
study,  and  specific  suggestions  for  practice  in  life. 
More  and  better  visual  aids  are  needed,  and  we  turn 
now  to  a  consideration  of  their  content. 

Proposed  Content  for  Visual  Aids 
An  ideal  film  for  mental  hygiene  classes  would  be 
one  in  which  basic  elements,  such  as  accepting,  re- 
jecting, competing,  and  with  drawing,  are  shown  in 
simple  acts  for  which  causes  are  unmistakably  vis- 
ible. Acceptance,  for  example,  would  be  shown  in 
agreeing,  paying  attention,  looking  at  the  one  who 
is  speaking,  doing  something  to  help  another  per- 
son, asking  for  more  information  on  a  preferred 
subject  of  conversation,  or  making  a  balanced  criti- 
cism in  which  another's  point  of  view  is  respected 
while  an  additional  one  is  suggested.  Rejection 
would  be  shown  in  actions  the  reverse  of  these — in 
disagreeing,  turning  one's  glance  away,  interrupt- 
ing with  a  new  subject,  refusing  to  help,  and  in 
facial  gestures  such  as  sneering,  smiling,  or  laugh- 
ing in  contempt  of  another's  opinions  or  actions. 
With  these  elements  mental  hygiene  films  should 
be  filled,  for  the  high  school  student  must  learn  to 
recognize  and  understand  them.  They  are  the 
elements  of  behavior,  and,  because  they  are  speci- 
fic, they  help  the  student  understand  why  he  him- 
self responds  in  similar  ways  and  how  he  may  be- 
gin to  modify  both  the  causes  and  the  eflfects  in  his 
personal  and  social  relationships.  A  few  specific 
situations  may  further  suggest  how  these  elements 
of  behavior  can  be  organized  in  visual  aids. 

Specific  Illustrations 

Most  of  the  elements  just  listed  would  naturally 
occur  in  the  following  situation :  A  mixed  group  of 
seven  or  eight  high  school  students  is  discussing 
Senior  Prom  arrangements.  One  member  of  the 
group  is  sarcastic  in  his  reaction  to  the  opinions  of 
others  and  insists  upon  the  superiority  of  his  own 
suggestion.  To  a  disinterested  observer  his  sug- 
gestion is  indeed  superior;  however,  various  nega- 
tive responses  are  made  to  him.  both  in  words  and 


A  sequence  from  the  M-G-M  picture,  "Captains  Courageous.' 


Page  291 

gestures.  The  more  disapproval  is  shown,  the 
louder  lie  speaks  and  more  excitedly  argues  his 
point.  Finally,  the  reaction  of  the  group  becomes 
uniformly  negative;  no  agreement  is  reached;  the 
group  disbands. 

The  reciprocal  nature  of  behavior  outlined  here 
would  be  set  off  in  more  bold  relief  if,  after  an 
adequate  discussion  about  this  film,  a  second  one 
were  shown  to  illustrate  what  happens  when  the 
domineering  persons  acts  otherwise.  In  the  second 
film  the  same  student  who  previously,  by  sarcasm 
and  domineering  behavior,  had  stinnilated  rejection 
on  the  part  of  the  group,  now,  by  positive  and 
agreeable  behavior,  stimulates  acceptance.  After 
listening  to  the  opinions  of  others  and  expressing 
himself  favorably  to  certain  aspects  of  the  discus- 
sion, he  judiciously  makes  the  same  suggestion 
(which  had  not  been  accepted  in  the  first  scene) 
and  receives  the  group's  approval  on  it.  The  group 
then  disbands  with  assigned  duties. 

In  addition  to  the  various  ways  in  which  accept- 
ance and  rejection  would  be  enacted  in  film  strips 
of  this  kind,  conversational  techniques,  like  listen- 
ing, questioning,  making  balanced  criticisms,  and 
using  pleasant  and  unpleasant  voice  tones  also 
could  be  included,  as  could  gestures  of  courtesy,  or 
the  reverse,  among  members  of  the  group. 

Similar  situations  at  a  soda  fountain  or  in  a  res- 
taurant could  provide  ample  occasion  for  behavior 
worth  studying,  and,  of  course,  could  portray  riv- 
alry and  competition  in  boy  and  girl  relationships, 
as  well  as  courtesy  and  manners,  or  the  reverse. 

A  meaningful  comparison  of  the  effect  of  accept- 
ance and  rejection  may  be  shown  in  scenes  from 
the  life  of  a  fourteen  or  fifteen  year  old  girl  who, 
through  surliness  and  unwillingness  to  cooperate 
at  home,  is  scolded  by  her  mother  and  leaves  for 
school  at  the  conclusion  of  an  argument.  At  school, 
however,  where  she  is  friendly  and  accepting  of 
her  school  mates,  she  has  many  friends  who  react 
favorably  toward  her. 

A  similar  comparison  or  contrast  could  be  made 
of  the  behavior  of  a  high  school  boy  who  is  rejected 
by  his  brothers  and  sisters  but  has  the  good  will 
of  his  gang. 

The  illustrations  could  be  multiplied,*  but  that 
is  not  necessary,  for  the  intention  is  merely  to 
suggest  in  bare  outline  the  sort  of  visual  aid  materi- 
al needed  in  high  school  courses  dealing  with  hu- 
man relations,  personal  problems,  or  mental  hy- 
giene. The  illustrations  have  certain  characteris- 
tics in  common:  (1)  They  are  made  up  of  the  nor- 
mal behavior  of  normal  high  school  students,  (2) 
They  are  related  to  the  experience  of  every  high 
school  student,  (3)  They  are  realistic  rather  than 
artistic  and  do  not  require  a  stretch  of  the  imagina- 
tion. (4)  They  are  simple  and  allow  for  discussion 
of  the  elements  and  segments  of  behavior  constitut- 
ing the  whole  scene,  and,  (5)  They  are  designed  to 
show  the  casual  factor  in  behavior. 

(Concluded  on  page  294) 

^Additional  suggestions  may  be  found  in  the  problems  and 
cases  in  Geisel,  John  B.,  Personal  Problems  and  Morale,  Bos- 
ton:  Houghton  Mifflin  Company,  1943.     Pp.  vii  435. 


Page  292 


The  Educational  Screen 


Study  of  ''Bambi"  Inspires  Movie  Adaptation 


PUBLIC  School  a  Manhattan,  in  New  York 
City,  is  one  of  the  schools  in  the  All  Day  Neigh- 
borhood School  Demonstration,  sponsored  jointly 
by  the  New  York  City  Board  of  Education  and  the 
Public  Education  Association. 

Six  regular  licensed  teachers  known  as  "group  teach- 
ers," working  with  the  regular  class  room  teachers, 
are  engaged  in  the  exciting  task  of  enriching  an  ex- 
periential curriculum.  As  far  as  possible,  ^liss  Ruth 
Gillette  Hardy,  principal  of  P.S.  iZ,  has  tried  to  make 


Reproductions    of    colored    drawings,    made   and    titled    by 

children,  as  follows: 

(Top)  Bambi  and  Faline  seen  close  together. 

(Center)  Bambi  and  Faline.   Stag  coming  near  them. 

(Bottom)  Bambi,  big,  on  cliff,  remembering. 


FREYDA    NACQUE-ADLER 

All  Day  Neighborhood  School 
P.  S.  33,  New  York  City,  N.  Y. 

Sixth  graders  prepare  their  version  of  the  story, 
illustrated  with  hand-made  slides,  for  primary  grades. 

our  curriculum  evolve  from  important  functional  jobs 
known  as  "services."  Thus  it  is  that  children  at  our 
schools  run  our  milk  service,  take  complete  charge  of 
operating  our  visual  instruction  program  and  run 
our  reference  and  circulating  library  among  other  serv- 
ices needed  to  conduct  a  modern  school. 

It  is  the  sixth  year  class  who  ran  the  library  serv- 
ice with  whom  this  article  is  concerned.  As  part  of  the 
service  to  the  school  the  children  wanted  to  prepare 
story  material  for  the  younger  classes.  At  first  they 
simply  wanted  to  adapt  stories  in  simple  vocabulary 
for  the  primary  grades  to  read.  However  they  soon 
wanted  to  augment  this  by  a  dramatic  production.-  Be- 
sides printing  a  longer  story,  they  wanted  to  illustrate  it 
with  slides,  use  appropriate  music,  and  present  it  at  the 
primary  assembly. 

Walt  Disney's  Bambi  had  been  running  at  the 
neighborhood  theatres  and  so  the  children  decided  to 
adapt  this  particular  story.  When  I  asked  the  class 
who  the  author  of  Bambi  was  they  all  came  back 
with  contemptuous  surprise  at  teacher's  ignorance  and 
said  "Disney,  of  course." 

I  "wondered"  whether  this  were  really  so  and  sug- 
gested they  visit  the  library.  They  were  quite  amazed 
to  discover  that  it  was  not  Disney  but  Felix  Salten, 
and  that  the  original  was  written  in  German  by  an 
Austrian. 

1  began  to  read  the  original  to  them  and  was  not 
allowed  to  stop,  so  fascinated  were  they.  As  I  only 
had  one-half  of  the  class  for  one  hour  twice  or  three 
times  a  week,  (the  rest  of  the  class  ran  the  library 
under  the  guidance  of  their  teacher)  the  children  got 
impatient  waiting  for  me  to  read  to  them.  Soon 
twenty-cent  editions  of  Salten  made  their  appearance 
and  the  children  were  finishing  the  novel  on  their 
own. 

Much  to  my  surprise  the  children  without  ex- 
ception preferred  the  Salten  to  the  Disney  version. 
Some  felt  Disney  had  spoiled  Bambi.  When  questioned 
as  to  why,  these  were  some  of  their  responses. 

"Salten  makes  you  want  to  cry  for  the  deer."  "Dis- 
ney had  all  that  dopey  love-stuff."  (This  is  interesting, 
as  one  of  the  most  poetic  parts  of  Salten's  book  is  his 
treatment  of  the  love  relationship  between , Faline  and 
Bambi)  "Bambi  is  a  sad  story  and  Disney  makes  it 
funny." 

This  led  to  many  discussions  on  th*M>roblems 
movie  script  writers  faced  in  adapting  original  stories. 
How  telling  a  story  was  different  from  showing  it  on 
the  screen.     How  some  things  were  better  written  than 

(Condudcifvn  page  302) 


*  This  demonstration  was  given  under  the  auspices  of  the 
Visual  Instruction  Section  of  the  N.  Y.  Society  for  the 
E.xperimental  Study  of  Education — Chairman,  Esther  T..'  Berg. 


October,   194} 


Page  293 


The  Film  and  International  Understanding 


Films:     An  International  Language 

The  Role  of  Motion  Pictures  in  Rehabilitating  A  War-Torn  World 


Edited  by  DR.  JOHN  E.  DUGAN 

Haddon  Heights,  New  Jersey,  Schools 


LT.  SAMUEL  F.  HARBY,  USNR 
Training  Film  Branch,  Arlington,  Va. 

Atrip  around  the  world  convinces  one  that 
coniniunication  is  easy  if  you  can  act  out  the 
ideas  you  want  to  convey.  Languages  are 
complicated  systems  of  symbolism,  and  at  best, 
only  a  substitute  for  the  real  thing.  Pictures,  on 
the  other  hand,  are  self-evident  and  close  to  reality. 
Show  a  picture  of  a  cat  to  Russian,  Chinaman. 
Englishman,  or  Yap  and  he  knows  instantly  what 
it  represents.  Even  unfamiliar  objects  or  ideas  can 
be  represented  pictorially  in  such  a  way  that  your 
meaning  is  clear  at  a  glance.  Pictures  then — and 
especially  motion  pictures — 
constitute  a  means  of  convey- 
ing ideas  which  transcends  lan- 
guage barriers.  What's  more 
important,  this  device  is  imme- 
diately available — i.  e.,  ready  to 
be  used  when  the  right  mo- 
ment arrives  as  an  educational 
tool  in  the  rehabilitation  of 
war-weary  peoples.  So  much 
then  for  the  medium.  Now  for 
the  subject  matter. 

World  War  11  is  the  most 
savage  and  ruthless  encroach- 
ment on  human  rights  that 
mankind  has  experienced.  Be- 
sides the  wanton  destruction  of 
life  and  property,  there  has 
been  utter  disregard  of  the 
sacred  institutions  established 
to  insure  decency  and  respect 
among    jjeoples.       In     all    the 

principal  nations  (including  our  own),  propaganda 
artists  have  conducted  campaigns  of  lies  and  hate 
deliberately  to  distort  the  truth.  In  man}'  coun- 
tries an  insidious  attempt  to  set  up  false  gods,  false 
principles,  and  false  goals  has  been  carried  to 
ridiculous  extremes,  while  unworthy  methods  of 
attaining  goals  were  nationally  advocated  and 
popularized. 

The  result  of  all  this  confusion  can  l)e  nothing 
l)ut  bitterness  and  chaos.  When  the  war  is  over, 
the  minds  of  people  literally  all  over  the  globe  will 
be  twisted  and  warped.  Unless  a  careful,  wise,  and 
ingenious  campaign  of  re-education  is  carried  out  in 
all  countries  of  the  world,  the  progress  of  civiliza- 
tion will  be  set  back  a  century  or  more — and  the 
war  will  leave  scars  never  to  be  outgrown  or  for- 
gotten. 

The  most  important  thing  to  teach  in  this  cam- 


Editor's  Note:  Will  Hays,  in  his  last  an- 
nual report  says,  "Skills  learned  in  war 
time  will  augment  the  educational  utility 
of  the  screen.  We  also  must  take  into 
account  the  fact  that  at  the  end  of  the 
war  the  armed  forces  will  return  to  the 
educational  institutions  a  large  number 
of  teachers  who  will  have  become  ac- 
customed to  teaching  with  films." 

This  month's  article  was  written  by  a 
man  actively  engaged  in  the  visual  train- 
ing program  of  the  Navy.  In  view  of 
Mr.  Hays'  statement,  it  is  interesting  to 
see  what  Lieutenant  Harby  thinks  of  the 
future  use  of  the  educational  film  in  the 
field  of  international  understanding  and 
good   will. 


paign  of  re-education  is  the  simple  truth  of  reality : 
that  we  are  all  human  beings,  with  common  inter- 
ests, desires,  and  satisfactions — regardless  of  lan- 
guage and  cultural  ditTerences ;  that  our  salvation 
lies  in  working  together  for  common  goals ;  that 
we  can  learn  from  each  other  and  help  each  other ; 
in  short,  that  we  are  "brothers  under  the  skin." 
This  is  the  easiest  kind  of  subject  matter  to  han- 
dle, and  it  is  perfectly  adapted  to  visual  treatment. 
That  travel  broadens  and  increases  understand- 
ing has  long  been  an  international  axiom.  Witness 
the  large  number  of  exchange  scholarships  which 
have  been  awarded  in  the  past  to  promote  the  cause 
of  peace.  In  some  instances  the  motion  picture  can 
do  the  same  job,  and  do  it  more 
thoroughly  than  actual  travel. 
Tlie  film  is  a  magic  carpet  on 
which  millions  of  people  can 
travel  to  remote  corners  of  the 
earth,  and  into  the  very  homes 
of  their  neighbors  abroad.  It 
can  cover  more  ground  in  a 
shorter  period  of  time  tlian  any 
other  system  of  transportation 
ever  devised;  and  it  permits  a 
wonderful  selection  of  sul)ject 
matter. 

There  are  dangers  as  well  as 
advantages  in  the  use  of  such 
a  device,  and  they  should  be 
recognized  at  the  outset,  for 
such  a  program  of  re-education 
as  we  have  suggested  must  be 
realistic  to  be  of  value.  Hon- 
esty in  this  field  should  be  as 
important  a  requirement  as  it 
is  in  the  field  of  science,  where  every  man  guards 
his  reputation  for  accuracy  as  he  would  his  life. 
Scientists  continually  check  each  other's  work,  and 
those  who  indulge  in  misrepresentation  quickly  lose 
professional  standing. 

In  the  business  of  selecting  subject  matter  there 
is  the  danger  of  presenting  only  a  partial  picture, 
and  tliereby  slanting  the  truth.  But  there  can  be 
no  point  in  this,  if  we  agree  that  our  objective  is  a 
better  understanding  of  peoples  all  over  the  world, 
for  the  purpose  of  establishing  peace.  Misrepresen- 
tation would  defeat  our  purpose.  By  numerous 
tricks  of  the  camera,  such  as  animation,  slow  mo- 
tion, optical  printing,  and  model  photography,  many 
things  are  put  into  films  which  cannot  be  seen  in 
real  life.  Such  devices  are,  of  course,  subject  to 
abuse.  But  when  used  with  integrity,  they  can 
amplify  the  truth  and  explain  its  intricacies.     They 


Page   296 


The  Educational  Screen 


Inc.,  in  the  release  of  their  16nim  non- 
theatrical  rights.  Monogram  was  first. 
However,  persuasion  was  still  difficult,  and 
Kapit  tried  many  ingenious  approaches. 
One  was  a  plan  to  tie  in  with  RCA's  new 
16mm  sound-on-film  projector  by  serv- 
icinja  it  in  the  field  and  providing  blocks 
of  16mm  films  to  be  shown  upon  it.  RC.-X 
agreed,  but  in  a  short  time  stopped  selling 
projectors  for  some  internal  patent  reas- 
ons. It  was  1936  before  Kapit  brought  in 
the  first  really  considerable  prize,  a  con- 
tract with  Van  Buren  for  a  large  supply  of 
short  subjects.  That  magic  was  wrought 
by  an  arrangement  to  have  the  central 
e.xchange  in  each  distributing  area  ap- 
prove the  release  of  each  item.  The  same 
sort  of  deal  was  then  closed  with  RKO 
and  with  Universal,  and  the  development 
naturally  then  became  easier.  In  years 
that  followed  Kapit  even  undertook  pro- 
duction, making  a  series  of  "vocationals" 
for  school  use.  When  Orton  Hicks  joined 
Gutlohn,  about  1938,  the  ball  was  rolling 
very  well  indeed.  .And,  in  a  large  sense, 
Walter  Gutlohn  was  still   with  them. 

.Although  Walter  Gutlohn  departed  this 
life  in  1936,  to  the  sincere  regret  of  those 
in  the  non-theatrical  field  who  knew  him, 
he  continued  the  development  of  his  work 
in  a  way  which  must  remain  a  tribute 
to  the  force  of  his  admirable  character. 
Just  before  he  died  he  went  to  a  hos- 
pital for  a  physical  checkup.  Examining 
doctors  told  him  he  had  six  weeks  to  live. 
He  returned  home  and  proceeded  to  set 
his  at?airs  in  order  without  causing  un- 
due alarm  to  those  around  him.  To  his 
wife  and  to  his  manager,  Harry  Kapit, 
he  carefully  explained  what  he  had  in- 
tended to  do  with  his  business,  his  un- 
folding plans,  aims,  and  intended  policies. 
When  the  end  came,  lie  met  it  with 
cliaracteristic  fortitude ;  and.  after  his 
demise,  Blanche  Gutlohn  and  Harry  Kapit 
carried  on  with  anticipated  success  along 
the  lines  of  Walter  Gutlohn's  well  con- 
sidered advice. 

In  a  particularly  informative  inter- 
view, published  in  the  Motion  Picture 
Herald  February  16,  1935,  Harry  Kapit 
made  one  comment  on  the  alleged  com- 
petition of  theatrical  and  non-theatrical 
shows  w'hicii  struck  me  as  being  except- 
ionally penetrating.  "The  average  pro- 
ducer fears  the  reaction  of  exhibitors  to 
16mm  shows,"  said  Mr.  Kapit.  "This  is 
unfortunate  because  they  do  not  know  • 
tlie  situation  as  it  really  is.  We  are  not 
in  competition  with  anyone.  In  most 
cases  the  pictures  we  handle  are  from 
two  to  three  years  old,  and  the  people 
who  see  them  do  not  go  to  non-theatri- 
cal exhibitions  primarily  to  look  at  the 
product.  Their  interest  centers  chiefly 
around  the  circumstances  and  situation  in 
which  16mm  shows  are  held,  usually  in 
a  church,  for  a  benefit  of  some  sort,  in  a 
school  or  auditorium  to  which  the  public 
is  not  admitted,  but  never  in  a  situation 
which  can  be  called  competitive  to  an 
established  theatre."  In  saying  this  Mr. 
Kapit,  in  my  opinion,  was  placing  his 
finger  unerringly  on  the  psychological 
difference  which  sets  the  non-theatrical 
entertainment  show  distinctly  apart  from 
the  regular  professional   presentation. 

The  more  bellicose  exhibitors  who  be- 
lived  that  the   16mm  development  would 


Frank  Woods  was  a  power  in  theat- 
ricals, but  as  champion  of  educa- 
tional films  he  averred  as  long  ago 
as  1910  that  entertainment  is 
the   theatre's   rightful  province. 

solve  their  non-theatrical  troubles  were 
yielding  to  a  fallacy.  From  their  un- 
compromising standpoint,  the  use  of  thea- 
trical pictures  by  the  non-theatrical  field 
was  only  a  small  aspect  of  the  case.  In 
their  view,  if  there  was  competition,  it  lay 
not  in  the  kind  of  show  given  in  the 
neighborhood  church,  for  instance,  but  in 
the  circumstance  that  any  sort  of  film 
exhibition — even  of  amateur  subjects  pro- 
duced by  the  sponsors  with  their  own 
non-professional  cameras — was  holding 
spectators  away  from  the  theatrical  box 
office.  It  was  the  simple  fact  of  counter- 
attraction  which  mattered.  Also,  the  16mm 
exhibition  was  not  limited  to  small 
gatherings,  as  was  commonly  supposed. 
Most  of  the  hostile  theatrical  men  paid 
too  little  attention  to  the  corresponding 
improvements  in  16mni  projection  equip- 
ment. In  the  spring  of  1935  occurred 
what  should  have  been  to  them  a  start- 
ling demonstration.  It  was  at  Constitu- 
tion Hall,  in  Washington,  D.  C. ;  and 
there,  using  a  new  1,000-watt  Bell  & 
Howell  16-mm  Projector,  a  lecturer  for 
the  National  Geographic  Society  gave 
an  allegedly  satisfactory  screening  to  an 
audience  of  4,000  persons.  Today  in 
various  parts  of  the  world  there  are 
16mm  theatres  in  tlie  full  professional 
showmen's  sense. 

Situations  such  as  that  obtaining  in 
this  controversy  of  theatrical  and  non- 
theatrical  fields  point  conclusively  to  the 
wisdom  of  thinking  of  the  non-thea- 
trical field  in  terms  of  its  natural 
divisions.  The  trouble  discussed  in  the 
preceding  half-dozen  pages  is  concerned 
almost  exclusively  with  that  part  which 
has  been  denominated  "the  entertainment 
fringe."  Other  types  of  non-theatrical 
show  are  not  seriously  concerned  in  it, 
but,  not  being  segregated  as  they  might 
conveniently  be,  they  suffer  in  the  general 
condemnation. 


Peacemakers 

In  an  .\rticle  on  industry  in  the 
broad  which  Garret  Garrett  wrote  for  the 
Saturday  Evening  Post  of  July  17,  1937, 
be  observed  that  during  a  dispute  in  any 
body  of  wage-earners  there  are  almost 
invariably  three  marked  divisions.  Ap- 
proximately one-fifth  is  violently  anti, 
another  fifth  is  as  strongly  pro,  and  the 
remaining  three-fifths  goes  with  the  tide. 
This  grouping  probably  will  apply 
equally  well  to  those  engaged  in  the  two 
sorts  of  motion  picture  exhibition.  Thus 
far  both  pros  and  antis  have  been  blocked 
in  their  attempts  at  mastery ;  fortuna- 
tely, I  believe,  the  tide  which  will  carry 
the  determining  three-fifths  is  distinctly  a 
compromise  movement. 

In  1916,  toward  the  close  of  the  Patents 
v,ars,  there  was  the  first  really  wide- 
spread tiareup  of  exhibitor  opposition  to 
non-theatrical  shows,  and  excellent  ad- 
vice on  the  subject  was  uttered  by  some 
of  the  industry's  ablest  leaders.  George 
K.  Spoor,  of  Essanay,  even  urged  ex- 
hibitors to  encourage  shows  in  schools 
and  churches,  insisting  that  it  would 
improve  their  business — not  hurt  it — 
by  educating  the  public  to  love  pic- 
tures. In  those  days  there  was  still  a 
large  body  of  the  people  which  rarely 
attended  films,  and  the  intelligentsia  had 
not  yet  discovered  "the  Art."  Thoma.^  A. 
Edison  addressed  exhibitors  in  the  same 
vein ;  and  George  Kleine,  in  booklets 
provided  for  his  non-tlieatrical  patrons, 
advised  them  how  to  obtain  free  shows 
through  the  professional  theatres,  ap- 
parently in  quiet  satisfaction  that  the  ex- 
hibitors, despite  occasional  objectors 
among  them,  would  in  reality  be  only 
too  glad  of  the  opportunity  to  cooperate. 
In  1926,  ten  years  later,  Nelson  Greene, 
writing  in  the  .Innals  of  the  American 
Academy  of  Political  and  Social  Science, 
pointed  out  for  the  hotheads  that,  "Were 
it  not  for  the  success  of  theatrical  films, 
there  could  be  no  present  possibility  of 
educational  films." 

All  exhibitors  were  conscious  of  the 
necessity  of  keeping  the  good  will  of 
large  bodies  of  the  public,  for,  naturally 
these  were  also  large  bodies  of  their 
own  patrons.  Some  thought  they  saw  a 
solution  by  inviting  outside  groups  to 
show  all  their  pictures  in  the  theatre 
as  the  proper  place  for  all  such  exhibi- 
tions, sharing  receipts  on  the  basis  of 
estimated  extra  special  attendance,  or  on 
tickets  sold  expressly  by  the  non-theatri- 
cal sponsor.  This  method  is  still  occas- 
sionally  to  be  found  in  practice.  To 
turn  the  theatre  over  to  the  sponsor, 
free  of  charge,  did  not  usually  prove 
advisable.  Too  many  other  organizations 
then  appeared  and  charged  discrimina- 
tion if  they  were  not  also  given  the 
house.  If  the  cause  served  by  the  pro- 
gram was  a  matter  of  prevailing  com- 
munity sentiment,  there  probably  would 
be  no  serious  disruption  of  regular  busi- 
ness ;  but  extreme  cooperation  with  too 
highly  specialized  groups  might  easily 
work  harm  to  the  establishment  by  keep- 
ing regular  patrons  away.  After  all, 
the  prime  business  of  the  theatre  was 
then   (and  still  is)   entertainment. 

It   is   probably   on   this   point   that   the 


October,   194} 


Page  297 


"great  divide"  arises  between  the  theatri- 
cal and  non-theatrical  fields — the  purpose 
of  the  theatre  is  entertainment :  of  the 
schools,  education,  including  education 
in  the  sense  of  advertising  and  propa- 
ganda. That  function  of  the  theatre  has 
been  iterated  and  reiterated  from  the 
time,  in  1910,  when  Frank  Woods  wrote 
in  the  New  York  Dramatic  Mirror,  "The 
primary  purpose  of  the  theatre  is  enter- 
tainment." Terry  Ramsaye  told  it  flatly 
to  the  educat<jrs  he  addressed  in  1930  at 
the  Visual  Instruction  Section  of  the 
Ohio  State  University  Educational  Con- 
ference. "Motion  pictures  are  more  ad- 
apted to  mass  education  than  te-xtbooks," 
he  said  then.  "The  motion  picture  in- 
dustry is  purely  an  amusement  industry 
and  must  not  be  looked  to  for  the  de- 
velopment of  visual  education  technique." 

The  notion  that  motion  pictures  should 
be  shown  only  in  theatres — or,  at  least 
under  theatrical  superintendence — was 
once  highly  popular  as  a  guiding  prin- 
ciple of  house  management.  It  was  even 
applied  to  the  matter  of  classroom  pic- 
tures. An  instance  was  provided  bj 
Managing  Director  Winstock,  of  the 
National  .Amusement  Company,  of  Port- 
land, Oregon,  in  April,  1914,  toward 
the  close  of  the  school  year.  He  proposed 
at  that  time  to  the  local  school  board 
to  show  institutional  pictures  on  history, 
geography,  animal  life  and  other  likely 
subjects,  at  actual  cost,  one  day  each 
week.  But  the  outstanding  instance  of 
this  sort  of  cooperation  probably  will 
always  remain  that  of  Harry  M.  Cran- 
dall,  who,  in  December,  1920,  offered 
the  Washington,  D.  C,  board  of  edu- 
cation his  chain  of  six  modern  theatres 
for  use  by  the  district  schools.  The 
school  system  itself  had  no  appropriation 
for  visual  education,  and  only  a  free  serv- 
ice of  this  sort  would  enable  them  to 
benefit  from  this  useful  new  apparatus. 

Despite  Crandall's  well  known  interest 
in  matters  of  civic  benefit,  there  was  the 
usual  suspicion  of  the  "publicity  stunt." 
and,  of  course,  if  such  cooperation  should 
prove  acceptable,  the  existing  school  cur- 
riculum would  require  revision  to  ac- 
coinnio<late  it.  By  degrees  the  fears  were 
allayed,  largely  through  the  confidence 
of  Dr.  Frank  M.  Ballon,  superintendent 
of  Washington  schools,  and  plans  were 
set  afoot  to  make  room  in  the  teaching 
schedules.  Crandall  also  prepared.  June 
1.  1922  he  instituted  what  he  called  his 
Public  Service  and  Educational  Depart- 
ment with  offices  in  his  Metropolitan 
Theatre.  The  screenings  for  the  depart- 
ment were  to  be  held  in  the  private  pro- 
jection room  of  the  theatre,  not  interfer- 
ing with  regular  performances  in  the 
auditorium. 

Crandall  was  especially  fortunate  in 
his  choice  of  an  officer  to  command  the 
department.  Mrs.  Harriet  Hawley  Locher 
had  been  a  popular  figure  in  social  act- 
ivities in  Washington,  and  had  long 
served  as  motion  picture  chairman  of  the 
District  of  Columbia  Federated  Women's 
Clubs.  She  entered  into  her  new  duties 
whole-heartedly,  with  discriminating  in- 
telligence, and  a  clear  appreciation  of 
Crandall's  own  idea  of  making  the 
neighborhood  theatre  useful  in  community 
liff. 


Some  tests  were  first  made  with  readily 
available  films  of  obvious  educational 
value.  They  were  screened  for  selected 
classes  of  grade  school  pupils  brought 
to  the  theatre  at  intervals  over  a  period 
of  several  weeks.  Results  were  carefully 
studied  and  found  to  be  highly  favorable 
to  continuance  of  the  project.  May  25, 
1923,  representatives  of  the  various  edu- 
cational groups,  including  not  only  Wash- 
ington public  school  officials,  but  dele- 
gates from  the  National  Education  .^s- 
sociation,  Government  motion  picture 
sections,  and  the  Motion  Picture  Pro- 
ducers and  Distributors  of  .America,  de- 
cided upon  the  form  of  the  project.  Up- 
on their  recommendation  the  local  board 
of  education  assigned  a  teacher,  Miss 
Elizabeth  Dyer,  to  give  her  entire  time 
to  correlation  of  the  pictures  to  be  used 
with  the  regular  units  of  instruction. 


Harry  Crandall,  of  Washington,  D. 
C,  will  always  be  the  shining  exam- 
ple of  the  theatrical  manager  who 
lives  in  harmony  with  the  schools. 

Actual  work  began  in  October,  1923, 
when  classes  attended  the  six  Crandall 
theatres  and  one  other  to  serve  an  other- 
wise inconvenient  school  location.  At 
this  last-named  theatre  there  was  no 
private  projection  room  suflSciently  large, 
so  the  regular  morning  show  was  delayed 
for  half  an  hour  and  the  children  were 
brought  to  the  auditorium  at  9:30  A.  M. 
Hours  chosen  for  the  screenings  were 
generally  at  the  close  of  the  morning  and 
afternoon  classroom  sessions  that  pupil 
groups  might  be  disbanded  directly  at 
the  theatres  instead  of  being  returned 
to  the  schools  for  dismissal.  A  study 
period  lasted  approximately  fifty  minutes, 
allowing  for  the  repeat  of  a  one-reel  sub- 
ject and  relevant  discussion.  During 
summer  months,  when  regular  schools 
were  closed,  the  work  was  continued 
in  substantially  the  same  manner  for  the 
benefit  of  the  Daily  Vacation  Bible 
Schools. 

This  strictly  pedagogical  work  was 
a  major  activity,  but  not  the  only  one. 
At  the  outset  of  the  service  an  Advisory 


Board  has  been  formed,  its  members 
selected  from  many  lines  of  education  and 
social  service — Boy  and  Girl  Sc()Uts, 
Camp  Fire  Girls,  Boys  Clubs,  Muni- 
cipal Playground  -Association,  Y.M.C..A. 
and  Children  of  the  American  Revolu- 
tion. Various  athletic  organizations 
were  encouraged  to  hold  meetings  in  the 
Metropolitan  Theatre  projection  room  to 
study  pertinent  reels.  Americanization 
groups  of  adult  aliens  learned  there  to 
qualify  for  citizenship.  To  serve  these 
varied  needs  films  were  obtained  from 
non-theatrical  libraries  as  well  as  from 
the  regular  exchanges.  Some  of  the 
work  expanded  into  regular  offerings 
in  the  theatres  themselves,  as,  for  in- 
stance, the  now-established  Saturday 
morning  matinees  for  children.  October 
31,  1925,  the  start  of  the  second  season 
of  the  Saturday  morning  programs,  the 
occasion  was  graced  by  the  approving 
presence  of  the  First  Lady  of  the  Land. 
Mrs.  Calvin  Coolidge. 

-As  still  further  stimulation  of  com- 
munity interest,  a  motion  picture  pro- 
duction unit  photographed  certain  acti- 
vities of  the  interested  groups,  such  as 
scenes  at  the  municipal  playgrounds, 
"safety  first"  precautions  of  Fire  and 
Police  Departments,  and  historical 
pageants. 

In  the  summer  of  1925  Pathe  head- 
quarters in  New  York  City  engaged 
Miss  Regge  Doran,  who  had  been  doing 
work  resembling  that  of  Mrs.  Locher  for 
West  Coast  Theatres,  Inc.,  and  brought 
her  east  to  take  charge  of  a  new  Depart- 
ment of  Public  Relations.  Her  duties 
were  to  show  the  managers  of  theatres 
using  Pathe  product  how  to  keep  on 
good  terms  with  their  public,  and  so  to 
pave  the  way  for  "better  pictures  for 
larger  audiences."  Her  achievement 
on  the  Pacific  seaboard  had  been  notably 
in  the  establishment  of  "children's  mat- 
inees," although  in  the  new  place  these 
were  to  represent  but  a  small  part  of  her 
endeavors. 

The  private  projection  room  at  the 
Metropolitan  Theatre  in  Washington, 
which  Mrs.  Locher  employed  mainly  in 
her  useful  work,  had  a  comfortable  cap- 
acity of  ninety  persons.  But  the  inspec- 
tion rooms  in  most  neighlwrliood  thea- 
tres are  veritable  cubbyholes,  and  would 
be  of  no  use  whatever  in  adapting  so  ex- 
tensive a  program  as  hers  to  their  needs. 
Like  the  extra  theatre  requisitioned  by 
Crandall  to  reach  pupils  at  the  outlying 
school,  they  would  be  obliged  to  use  their 
auditoriums,  and,  in  that  situation,  the 
only  available  times  for  educational  and 
social  service  programs  would  be  when 
there  were  no  paying  audiences  to  come 
in.  To  be  considered,  also,  of  course, 
would  be  the  convenience  of  those  who 
wish  to  attend  the  especial  performance. 
So  it  has  come  about  that  the  time  which 
the  exhibitors  recommend  most  heartily 
for  cooperative  screenings  is  Saturday 
morning.  It  was  not  a  new  idea.  Dur- 
ing the  winter  season  starting  October 
23,  1915,  at  Proctor's  Leland  Theatre 
at  Albany,  New  York,  the  manager  ran 
educational  films  for  school  children  on 
Saturday  mornings  under  the  auspices  of 

(Continued  on  page  319) 


?age  298 


The  Educational  Screen 


The  Post- War  World  Here — In  Hand  Made  Lantern  Slides 


By    ANN    GALE 

WE  MUST  be  ready  for  peace  when  it  comes.  Much  of  the 
planning  for  the  post-war  world  will  be  done  by  inter- 
national councils.  However,  there  will  be  changed  conditions 
here  which  we  must  recognize.  The  following  six  slides 
form  an  introduction  to  domestic  post-war  problems  for  junior 
high  school  or  high  school  social  science  classes.  They  may  be 
used  in  art  classes  to  present  the  general  ideas  and  then  the 
students  could  work  out  their  own  thoughts  on  the  subject. 

1.)  There  will  be  millions  of  people  to  be  fed  and  clothed 
both  in  occupied  countries  and  in  the  United  Nations.  We  can 
not  help  these  people  unless  some  form  of  rationing  continues. 

2.)   Disease  continues  when  the  war  ceases,  especially  in  the 


Roosevelt  High  School,  Chicago 

war  ravaged  countries.  Our  doctors  and  medical  supplies  will 
be  needed  abroad.  We  must  keep  well  and  continue  to  use 
home  nursing  when  there  is  illness. 

3.)  Our  factories  during  the  change-over  from  war  to  peace 
production  will  cause  much  unemployment. 

4.)  Returning  soldiers  should  find  jobs  in  industry  or  man- 
agement. 

5.)  Because  we  may  need  an  international  police  force  for 
years,  many  soldiers  will  have  to  remain  on  foreign  soil. 

6.)  We  must  prepare  to  enlarge  our  airports  for  the  great 
expansion  in  air  transport  which  is  sure  to  come.  Some 
arrangements  for  international  air  bases  will  have  to  be  made. 


The  sim- 
plest type 
of  h  an  d - 
made  slide 
is  made  by 
drawing  or 
tracing  on 
finely  fin- 
ished etched 
glass  with 
ordinary 
medium  lead 
pencil.  Col- 
or, by  spe- 
cial crayons 
or  inks,  en- 
hances the 
slides  great- 
ly. Fine  ef- 
fects are  ob- 
tained by 
blending 
7C'  i  t  h  cray- 
ons. About 
one  -  third 
inch  margin 
should  be 
left  all 
around  the 
slide.  The 
slide  is  read- 
ily cleaned 
zvith  soap  or 
washing 
powder  to 
receive 
a  new  pic- 
ture. 


y^        I  I 


October,  1945 


Page  299 


SCHOOL  MADE  MOTION  PICTURES 


By    HARDY    R.    FINCH 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 


Film  Presents  the  Evolution  of  Art 

THE  first  of  a  projected  series  of  films  telling  the 
story  of  the  evolution  of  art  through  the  ages  has 
l)eeii  completed  at  Antioch  College,  Yellow  Springs, 
Ohio.  It  is  The  Daivn  of  Art,  a  one-reel  16mm  silent 
color  film,  produced  under  the  direction  of  Raymond 
S.  Stites,  Chairman  of  the  Department  of  Art  and 
Aesthetics  of  the  College,  and  photographed  by  H. 
Lee  Jones.  The  film  is  available  for  showing.  Ad- 
dress all  inquiries  regarding  rental  to  Mr.  Raymond 
Stites.  Antioch  College,  Yellow  Springs,  Ohio. 

The  Dawn  of  Art  indicates  at  the  start  that  art  is 
complex,  arising  from  many  cultural  needs.  Cro- 
Magnon  men  and  women  are  seen  working  in  a  rock- 
shelter  near  Font-de-Gaume,  France.  They  sew  or 
scrape  skins,  make  hunting  tools,  decorate  a  lamp, 
gather  nuts  for  the  winter.  Food  is  scarce,  so  the  men 
who  have  returned  from  the  hunt  empty  handed  consult 
a  medicine  man  who  tells  them  he  will  make  powerful 
hunting  magic.  By  tallow  lamplight  they  go  to  a 
chamber  deep  in  the  cave.  After  a  ceremonial  dance 
they  prepare  their  colors  and  paint  the  famous  deer  of 
Font-de-Gaume.  one  of  man's  first  artistic  compositions. 
The  men  appear  by  the  stream  where  one  spears  a 
fish.  Then  they  see  the  deer  and  stalk  it.  They 
throw  their  javelins  and  the  deer  is  brought  down. 
The  hunters  return  with  their  game  and  have  a  feast, 
after  which  one  of  the  men  takes  up  a  bone  and  en- 
graves his  story. 

A  commentary  to  be  given  while  the  film  is  being 
shown  has  been  written  by  Mr.  Stites.  Excerpts 
from  it   follow : 

Commentary   for   "The    Dawn    of   Art" 

".Ml  the  evidence  shows  that  the  art  of  the  cave  men 
came  from  diverse  needs.  Note  that  Narration  and 
Communication  merit  special  attention.  The  most 
inclusive  function  of  art  is  to  communicate  thought 
with  emotion.  As  the  artist  engraved  the  deer,  fish 
and  spear  heads  around  this  bone  he  made  the  first 
documentary   motion   picture  of   cultural   history." 

"The  Cro-Magnons  lived  in  huts  and  in  the  en- 
trances  to    caves   on    the    Magdalenian    culture    level 

fourteen  thousand  years  ago Stone  scrapers 

and  bone  needles  are  used"  to  clean  and  sew  skins  which 
keep  men  warm.  Men  and  women  enjoy  making  orna- 
ments which  take  their  design  from  the  sewing  tech- 
nique. When  she  engraves  the  ibex  on  the  back  of 
this  stone  lamp,  it  may  have  been  for  play.  This  doll 
was  either  a  gift  for  a  child  or  a  magic  fetish." 

"A  hunter  shapes  his  javelin  with  a  stone  scraper. 
His  shaft  straightener  of  elk  horn  is  carved  to  show 
an  animal.  So  he  hopes  to  get  magical  control  over 
nature.    Skill  and  idea  unite  in  this  carved  throwstick. 


With  a  question  box  on  the  making  of 
school  film  productions,  conducted  by 

DONALD   A.   ELDRIDGE, 
Wesleyan  University,  Middletown,  Conn. 


It  is  a  true  work  of  art,  both  decorative  and  useful. 
See  how  he  holds  it  to  propel  the  spear." 

"A  magician  is  seated  by  his  altar  in  the  ante-room 
to  a  dark  cave.  Hungry  hunters  come  to  ask  his  help. 
He  will  make  magic  for  some  strings  of  beads.  He  puts 
on  his  deer  skin  coat  and  mask.  Tattooing  or  other 
kinds  of  decoration  have  magic  in  them.  Hundreds 
of  yards  underground  they  go  to  magic  picture  gal- 
leries where  the  spells  are  made.  Fire  and  lamplight 
alone  could  make  this  work  possible.  So  man  the  in- 
ventor grows  along  with  man  the  artist." 

"Once  they  found  a  fresh  bank  of  clay.  Its  shape 
suggests  a  bison.  So  they  begin  to  model,  first  a 
female,  then  the  male.  The  herds  were  dying  out, 
the  buffaloes  retreating  with  the  glaciers.  By  pictured 
prayers  they  call  back  the  herds." 

"Deeper  and  deeper  in  the  caves  the  magician  dances 
a  charm  dance  for  ghosts  of  animals  long  vanished. 
Flickering  lamps  reveal  many  paintings,  drawings 
made  thousands  of  years  before.  They  take  out  the 
tools  of  their  craft.  The  outline  is  carved  with  a 
burin,  engraver  of  stone.  Painter  and  sculptor  are 
one.  But  man  is  first  a  chemist.  He  holds  the  lamp 
to  the  stalactite,  then  scrapes  off  the  lampblack  into 
the  tube.  The  painter  fills  the  carved  lines  with  black.- 
He  pours  out  light  ocherous  earth.  He  grinds  it  with 
a  muller  or  grinding  stone.  A  palette  is  made  of  a 
reindeer  bone.  The  brush  is  made  of  plant  fibres  or 
boars'  bristles.  (Hollow  bones  are  found  today  with 
paint  still  in  them.)  With  yellow  and  brown  and  rich 
red  paint  he  models  male  and  female  deer.  Bright 
red  is  the  color  of  blood  and  life.     At  last  with  black 


Antioch  students  paint  a  set  for  their  art  film. 


Page   300 


The  Educational  Screen 


One  of  the  magic  drawings  made  by  the  Cro-Magnons. 
he  ties  color  areas  together.  When  the  magical  pic- 
ture is  finished  the  tools  are  replaced  in  the  medicine 
pouch.  The  sorcerer  recites  his  spell  and  they  leave 
their  pictured  shrine.  And  today — after  thousands 
of  years — the  composition  of  the  deer  is  brilliant 
still." 

"Finally  another  artist  draws  what  the  magician 
told  them  would  come  true.  In  a  forest  stream  the 
hunters  found  their  game.  With  faith  and  skill  they 
spear  the  fish.  The  leader  sights  the  deer.  With 
throwstick  he  brings  down  the  deer.  Homeward  they 
go  over  the  forest  trails  through  rocky  gorges,  past  long 
abandoned  rock  shelters.  The  women  are  glad  to  see 
them.  Only  when  man  has  cared  for  his  body  does  he 
turn  to  arts  of  narration  and  communication,  and 
then,  in  play,  he  perfects  his  designs.  Recording  his 
skill  as  a  hunter  this  man  created  narrative  art,  show- 
ing the  deer,  how  and  where  he  killed  it.  Thus  art  arose 
from  diverse  needs." 

QUESTION  BOX  ON  SCHOOL  FILM  PRODUCTION 
Question:  Can  you  give  us  some  suggestions  on 
making  titles  for  a  Kodachrome  film?  In  our  black 
and  white  films  we  have  had  printed  titles  made  for 
us  by  a  laboratory,  but  we  would  like  something 
more  artistic  for  our  latest  attempt,  which  is  in  color. 
Answer:  There  are  several  ways  in  which  color  titles  can 
be  produced  by  the  amateur.  There  are  numerous  titling  "kits" 
on  the  market.  One  type,  for  example,  furnishes  letters  cut 
out  of  a  sponge-rubber  type  of  material.  These  are  mounted 
on  a  suitable  background,  which  may  also  be  supplied  in  the 
kit.  Other  products  supply  the  materials  with  instructions  for 
making  the  letters  and  background.  Some  of  these  are  intended 
for  use  in  a  titling  device  to  which  the  camera  is  attached, 
while  others  may  be  photographed  with  a  standard  camera  lens 
as  one  would  photograph  a  poster,  for  instance.  A  variety  of 
artistic  effects  may  be  obtained  through  the  use  of  such  com- 
mercially produced  materials. 

Many  amateurs  have  found  it  more  ^satisfactory,  as  well 
as  more  economical,  to  use  materials  ana-  devices  immediately 
available.  Most  schools,  particularly,  have  access  to  art  materi- 
als and  to  people,  students  or  teachers,  with  some  artistic 
talent.  Where  this  is  the  case,  the  procedure  is  quite  obvious : 
an  artistically  drawn  poster,  with  appropriate  background  and 
lettering,  can  be  photographed  as  one  would  film  any  scene.  A 


careful  check  of  exposure  and  focus,  and  with  some  types  of 
cameras,  of  parallax,  is  necessary. 

Some  cameras  are  equipped  with  ground  glass  viewers 
by  means  of  which  one  can  look  through  the  lens.  If  this  is 
used,  the  parallox  problem  disappears.  If  your  camera  does 
not  have  the  ground  glass  viewer,  but  the  "finder"  is  in  line 
with  the  lens,  i.  e.  on  top  of  the  camera,  the  problem  of 
parallox  is  simplified  for  the  field  actually  covered  by  the  lens 
is  usually  indicated  by  lines  which  indicate  the  vertical  limita- 
tions of  the  scene.  Where  the  viewer  is  on  the  side  of  the 
camera,  although  the  field  again  may  be  indicated  vertically,  care- 
ful calculation  of  the  horizontal  parallox  is  necessary,  for,  in 
photographing  near-by  objects,  the  slight  difference  between  the 
position  of  the  lens  and  of  the  viewer  becomes  significant.  The 
most  certain  way  to  check  this  is  to  mount  the  camera  before 
loading  it  (we  assume  that  a  tripod  is  always  used),  and  look 
through  the  lens  to  center  the  "shot".  Then  the  film  is  in- 
serted, using  great  care  not  to  move  the  camera.  All  titles  can 
be  placed  in  exactly  the  same  position,  and,  if  your  original 
arrangement  was  accurate,  they  all  will  be  centered. 

This  "poster"  technique  can  be  most  effective.  It  has  the 
advantage  of  unlimited  variety,  suitable  to  the  film  subject,  and 
lack  of  expense,  plus  the  not  inconsiderable  significance  of  the 
creative  opportunities  it  affords.  A  film  on  primary  education, 
for  instance,  might  well  utilize  typical  child-created  drawings, 
and  even  children's  lettering. 

A  very  satisfactory  adaptation  of  this  system  may  be  used 
where  it  is  desirable  to  have  all  titles  appear  superimposed 
on  a  common  background.  The  background,  preferably  dark, 
is  first  painted.  (It  should  not  be  glossy,  to  avoid  glare.)  The 
lettering  for  each  title  is  then  done  in  white  opaque  paint  on 
heavy  cellophane,  and  each  title  is  mounted  over  the  background 
and  photographed.  Care  must  be  taken  to  avoid  any  reflection 
of  the  light  on  the  cellophane,  but  this  is  not  difficult.  In  ex- 
posing such  a  shot,  take  the  ''reading"  from  the  background. 
If  in  doubt,  it  is  better  to  slightly  under-expose  the  background 
than  to  over-expose  it. 

This  cellophane-poster  technique  was  recently  employed  with 
considerable  artistic  success  in  a  film  produced  at  Wesleyan 
University  on  the  Navy  Flight  Preparatory  School  there.  Rus- 
sell Limbach,  the  artist-in-residence  at  the  University,  painted 
an  effective  scene  with  a  deep  blue  sky,  and  a  black  silhoutto  of 
the  "profile"  of  the  "college  row"  (chapel  spire,  etc.)  as  the 
bottom  border,  and  airplanes  (also  silhouetted)  against  the  sky. 
A  streak  of  light,  presumably  from  an  anti-aircraft  search-light, 
runs  diagonally  across  this  dark  background  and  "high-lights" 
the  wing  of  one  of  the  planes  in  the  upper  corner,  showing 
the  insignia.  All  titles,  on  cellophane,  were  photographed 
against  this  background,  which  symbolizes  both  the  college  and 
the  flight  school  to  which  the  college  is  "playing  host." 

A  common  background  such  as  this  often  aids  indirectly 
in  preserving  the  continuity  of  a  film.  For  an  illustration  of 
another  adaptation  of  the  "poster"  technique,  w'hich  was 
definitely  designed  for  the  purpose  of  continuity  and  symbolism, 
see  Producing  School  Movies,^  page  37. 

In  all  such  work,  it  is  important  to  allow  plenty  of  extra 
space  around  the  borders  of  the  background  so  that  camera- 
inan  may  have  some  leeway  in  "matting  out"  the  necessary 
amount. 

One  other  technique  should  be  mentioned — the  title  super- 
imposed over  an  actual  scene.  This  is  simply  a  matter  of 
double  exposure.  The  scene  is  filmed,  with  the  footage  care- 
fully noted.  The  film  is  then  rewound,  and  the  title  (either 
with  light  background,  depei^ding  on  the  lightjiess  or  darkness 
of  the  scene  against  which  the  letters  must  be  read)  is  photo- 
graphed. Fades  can  by  used  as  desired.  The  mechanics  of 
making  such  double  exposures  have  previously  been  discussed 
in  this  column  in  answer  to  a  question  on  methods  of  producing 
transitions   in   film. 

In  conclusion,  let  us  urge  that  whatever  method  you  decide 
to  utilize,  you  do  use  color  in  your  titles  in  all  color  films. 
Too  often,  an  otherwise  creditable  production  is  dulled  im- 
measurably by  black  and  white  titles,  which,  however  skillfully 
done,  are  certain  to  look  "shabby"  in  contrast  to  the  brilliance 
of  color  on  the  screen. 


1  Prodiicinc/  School  Movies  by  Eleanor  Child  and  Hardy  Finch. 
Published  by  the  National  Council  of  Teachers  of  English. 


October,   1943 


Page   301 


a  lormula  for  results 


% 


.    sight,    sound, 

sequence  These  are  the  elements  of 
Sound  Motion  Pictures,  that  today  are  accomplishing 
miracles,  in  preparing  military  forces  for  victorious  com- 
bat, in  training  inexperienced  civilians  for  victorious  war 
production  and  home  defense — the  fastest,  most  thorough 
training  the  world  has  ever  known. 

Tomorrow,  look  for  these  3  S's  to  accomplish  further 
miracles — miracles  in  broadening  the  scope  of  education, 
in  speeding  up  training  for  the  exciting,  competitive 
transition  to  post-war  problems. 

Victor  Cameras  and  Projectors  are  serving  on  the  Home 
and  Fighting  Fronts  the  world  over.  Its  factories  are  also 
producing  important  radar,  airplane  and  technical  parts 
to  speed  Victory.  Its  laboratories  are  testing  new  devel- 
opments to  reach  new  highs  in  perfection.  Look  to  Victor 
— the  active  force  in 

16mm  Sound  Motion  Picture  Equipment 


WIKei"®!!! 


Animatograph 
Corporation 


HOME      OFFICE      AND      FACTORY:      DAVENPORT.      IOWA 
242  W.  55th  St..  New  York  City      •      188  W.  Randolph,  Chicago 

Disirlbuiors  Throughouf  the  World 


Page  302 


The  Educational  Screen 


Study  ol  "Bambi"  Inspires  Movie  Adaptation 

{Concluded  from  page  292) 

pictured  on  the  screen  and  vice  versa.  Despite  these 
discussions  many  of  the  children  still  felt  the  movies 
should  not  deviate  too  much  from  the  original  intent 
of  the  author. 

When  it  came  the  version  we  were  to  write,  the 
children  said  they  would  stick  more  closely  to  Salten, 
take  the  best  from  both  Disney  and  Salten  and  add 
their  own  touch.  As  one  child  said,  "If  Disney  can 
change  Salten  we  can  change  both  Salten  and  Disney." 

The  group  divided  the  novel  into  twelve  short  epi- 
sodes. A  committee  of  two  or  three  children  worked 
on  each  of  the  episodes.  Then  came  the  interesting 
problem  of  continuity,  the  flow  from  one  episode  in- 
to the  other.  During  the  writing  (all  children  took 
part)  some  real  creative  ability  was  discovered.  One 
boy,  a  particularly  maladjusted  child,  full  of  resent- 
ment against  the  world  really  blossomed  through  this 
writing  experience.  It  was  he  who  ended  the  episode 
on  the  death  of  Bambi's  mother  with  these  words : 
"Tears  ran  from  Bambi's  eyes,  but  in  his  heart  he  had 
hate  toward  Man." 

Our  script  completed,  much  to  the  delight  of  the 
children,  we  were  now  faced  with  the  problem  of 
illustrating  our  story  with  slides.  We  studied  each 
episode  with  a  view  to  choosing  only  those  parts 
which  would  be  emotionally  heightened  or  clarified 
by  suitable  illustrations.  Interestingly  enough  I  found 
the  children  only  too  ready  to  copy  the  Disney  illus- 
trations. We  spent  some  time  studying  photographs 
of  deer  and  other  animals  with  the  definite  purpose 
of  making  our  own  original  illustrations.  Although  we 
did  not  copy  our  illustrations  from  either  photographs 
or  drawings,  the  Disney  influence  is  still  very  apparent. 

Each  child  made  as  many  large  and  slide  scale 
drawings  as  he  wished.  The  final  number  of  draw- 
ings chosen  to  be  traced  onto  glass  were  sixty.  The 
children  voted  on  each  of  the  drawings  chosen.  Every 
child  had  the  experience  of  making  at  least  one  glass 
slide  even  though  his  particular  scale  drawing  may 
not  have  been  used  . 

Some  of  the  children  found  the  choosing  of  ap- 
propriate music  and  sound  eiTects  the  most  exciting 
experience  in  the  whole  unit.  It  really  was  amazing 
to  hear  their  comments  on  the  music.  Without  ver- 
balising it,  they  intuitively  knew  which  music  to  choose 
and  nine  times  out  of  ten  chose  music  which  not  only 
created  atmosphere  for  what  was  being  dramatized 
but  music  which  intensified  and  highlighted  what 
was  being  said.  We  were  fortunate  in  having  another 
group  teacher,  Mrs.  Amy  Hoffman,  help  us  with 
the  music. 

The  other  classes  who  saw  our  version  of  Bambi 
were  most  enthusiastic  in  the  reception  they  gave  it. 
However  the  highlight  for  the  children  came  when 
they  were  invited  by  Professor  Thrasher  of  New  York 
University,  to  present  it  before  an  adult  class  making 
a  study  of  the  Motion  Picture.  As  a  result  of  this 
experience  the  children  not  only  grew  creatively  but 
learned  to  respect  the  craftsmen  of  the  motion  picture 
industry  who  are  too  often  overlooked  in  favor  of 
phoney  "Glamor." 


Amelia  Meissner  Retires 

IT  is  with  mingled  feelings  that  we  announce  the  re- 
tirement of  Amelia  Meissner,  first  Curator  and  for 
38  years  Head  of  the  Educational  Museum  of  the  St. 
Louis  Public  Schools.  We  regret  deeply  the  cessation  of 
such  outstanding  service  as  Miss  Meissner  gave  to  this 
field,  but  we  rejoice  at  a  retirement  which  should 
bring  relaxation  and  satisfaction  richly  deserved  and 
brilliantly  earned. 

The  September  report  of  the  Committee  on  Instruc- 
tion in  St.  Louis  pays  high  tribute  to  her  great  career. 
"The  Educational  Museum,  recognized  today  as  out- 
standing in  the  field  of  visual  education,  will  continue 
through  the  years  as  a  monument  to  the  foresight,  en- 
thusiasm and  professional  leadership  of  Miss  Amelia 
Meissner.  It  was  her  privilege  and  responsibility  to  be 
one  of  the  nation's  pioneers  in  the  development  of  the 
use  of  visual  aids  in  education."  When  she  was  ap- 
pointed first  curator  in  1905,  there  were  no  precedents  to 
guide  her.  Visual  education  was  an  untried  experiment. 
\\  ith  a  few  exhibits  of  flowers  and  animals,  a  few  maps 
and  lantern  slides.  Miss  Meissner  began  to  build  visual 
instruction  in  the  St.  Louis  schools.  Today  the  Museum 
has  one  of  the  finest  collections  of  visual  materials  of  all 
kinds  among  American  school  systems.  "It  handles  two 
and  one  half  million  objects  annually  for  classroom 
loans;  supplies  150  schools  with  films,  slides,  photo- 
graphs, exhibits ;  maintains  a  lecture  service  and  cir- 
culates supplementary  books  to  classrooms."  But  sta- 
tistics do  not  tell  the  story.  The  Museum's  supreme 
contribution  to  St.  Louis  schools  has  been  to  "end  isola- 
tionism in  the  classrooms  and  widen  the  horizon  of 
thousands  of  school  children."  This  was  the  achieve- 
ment in  which  Miss  Meissner  found  her  greatest  satis- 
faction. Her  interest  was  steadfastly  centered  in  service 
to  children  and  teachers,  proud  though  she  was  that  her 
work  won  for  St.  Louis  national  recognition  and  .served 
as  a  model  for  similar  activities  in  other  school  systems. 
In  conclusion  the  Board  pays  warmest  tribute  to  Miss 
Meissner  as  .she  retires  "with  the  consciousness  that  the 
work  in  which  she  pioneered,  and  which  she  has  ably 
developed,  will  continue  to  reflect  the  inspiration  of 
her  leadership  and  her  vision  in  years  to  come."  At  the 
same  time  the  Board  announces  a  change  of  name  from 
the  "Educational  Museum"  to  the  "Department  of 
Audio- Visual  Education"  with  Miss  Elizabeth  Goiter- 
man  as  Acting  Director  and  Miss  Dorothy  Blackwell  as 
Assistant,  both  of  whom  were  long  members  of  Miss 
Meissner's  regfime. 

It  has  been  the  writer's  privilege  to  know  Miss 
Meissner  through  the  years,  to  see  her  in  her  own 
domain,  to  hear  her  speak  on  many  a  program.  He, 
with  countless  others,  has  been  impressed  not  only  by 
her  technical  knowledge,  scientific  attitude,  administra- 
tive power,  and  high  contributions  to  the  national  field 
of  visual  education  ;  but  also  by  her  marked  personality 
and  charm,  her  ardent  devotion  to  educational  ideals, 
and  her  unstinting  cooperation  with  fellow-workers  in 
the  common  cause.  Our  best  wishes  for  long  and  con- 
tented years  of  retirement  to  one  of  the  great  in  the 
visual  field,  Amelia  Meissner. 

Nelson  L.  Greene 


October,  1943 


Page  303 


A/ew 
KEYSTOXE  S^tUi 

o-k  ^antQtn  Slide 6 


in 


AERONAUTICS 


Unit  I 

— Historical  Background 

Unit  VII  — Airplane  Controls 

Unit   II 

— Types  of  Airplanes 

Unit  VIII — Airplane  Engines 

Unit   III 
Unit   IV 

Unit  V 

— Aerodynamics 

— Aircraft    Materials    and 
Their  Uses 

— Aircraft  Structure 

Unit  IX    — Propellers 

Unit  X      — Meteorology 

Unit  XI     — Navigation  and  Radio 

Unit  VI 

— Structural   Detail   of   the 
Airplane 

Unit  XII  — Aircraft  Instruments  and 
Accessories 

KEYSTOIVE  quality  Means 


(1)  Subjects    carefully    selected    as    to    value    in    teaching 
Aeronautics. 

(2)  Photographic  copy  skillfully  prepared. 

(3)  Manual    for    teacher,  which    provides    brief    but    usable 
information. 


Prospectus  Sent  upon  Request 


KEYSTONE 

VIEW  COMPANY 


Meadviile,  Penna. 


Page   304 


The  Educational  Screen 


^nE  J^itE%atu%E  in  ^  (/i±uaL  lJn±tzuction 


A    Monthly    Digest 


Conducted    by    ETTA     SCHNEIDER 


ADMINISTRATION 

A  Functional  Visual-Aids  Program — E.  J.  Kalney.  Blue  Is- 
land, 111. — School  Executive — 63  :23,  September,  1943. 
In  this  community  of  five  elementary  and  two  junior 
high  schools,  one  of  the  assistant  principals  was  made  Direc- 
tor of  Visual  Education.  Finances  are  handled  by  the 
superintendent.  Selection  is  done  by  a  committee  of  three 
to  assist  the  director,  a  representative  from  the  junior  high, 
primary  and  intermediate  divisions.  Each  in  turn  has  an  ad- 
visory committee  of  members  from  each  school. 

The  program  in  Blue  Island  included  equipjiing  at  least 
one  room  on  each  floor,  providing  projectors  and  screens 
and  securing  films  from  the  nearest  cooperative  library. 
Visual  aids  are  also  used. 

In-service  education  of  teachers  is  carried  on  through 
mimeographed  bulletins,  individual  instruction  in  the  use 
of  equipment  and  publicizing  previews.  The  value  of  visual 
aids  in  education  has  been  brought  to  the  community  at 
PTA,  Rotary  Club  and  other  meetings. 

UTILIZATION 

Classroom  Use  of  Films — Eleanor  D.  Child  and  Hardy  R. 

Fincli,     Greenwich,     Conn. —     School     Managcvioit.     12 :270 

August,   1943. 

An  overview  of  the  educational  film,  in  whicli  evidence  is 
presented  to  show  the  extent  of  available  films  and  some  of 
the  research  findings  that  have  shown  the  eflfectiveness  of 
motion  pictures  for  training  and  education.  It  is  estimated  that 
more  than  30,000  films  are  available  from  educational  film 
libraries  in  40  states  and  from  230  commercial  libraries  through- 
out all  states.  Officers  in  charge  of  training  soldiers  have 
disclosed  that  films  have  shortened  the  period  of  training  from 
20%  to  40%. 

Schools  should  use  the  new  films,  should  train  students 
to  be  projectionists,  and  should  make  films  easily  accessible 
to  teachers  throughout  an  organized  program  of  audio-visual 
instruction. 

Visual  Aids  in  Classroom  Instruction — E.  L.  Austin,  King- 
ston, R.  I.. — Agricultural  Education  Magazine,  September, 
1943,  p.  47. 

A  critical  evaluation  of  the  methods  used  with  visual  aids 
in  agriculture  classes.  Pictures,  models,  objects,  filmstrips  and 
other  aids  are  used  frequently  but  not  always  most  effectively. 

Every  teacher  of  vocational  agriculture  should  have  formal 
instruction  in  the  use  and  care  of  visual  aids  in  his  pre-service 
training  and,  lacking  this,  the  alert  teacher  can  profit  from 
self-instruction. 

Educational   Cinema   Takes   a   New   Lease   on   Life — Mary 

Field,   Gaumont-British    Instructional   Films — School   Execu- 
tive, 62  ■.33  August,  1943. 

A  summary  of  educational  film  activities  in  wartime  Britain 
by  one  of  the  leading  producers.  Most  instructional  films 
available  deal  with  biology,  geography  and  civics  for  junior 
and  senior  high  school  grades.  Although  many  of  the  films  now 
being  used  in  British  schools  are  from  the  Ministry  of  Infor- 
mation and  contain  some  propaganda,  it  is  hoped  that  after 
the  war  teachers  will  again  have  educational  films  made 
especially  for  them. 

Sight     and      Sound     Dramatize      Wartime      Economics — 

OPA  Bulletin  for  Schools  and  Colleges,  June  1943  p.  10 
Concrete  suggestions  for  using  the  bulletin  board,  posters, 
cartoons,  charts,  exhibits  and  other  types  of  audio-visual  aids 
in  making  real  the  complex  problems  involved  in  rationing  and 
price  control. 


Audio-Visual  Aids  Pay  Dividends — Elizabeth  Goudy  and 
Lt.  Francis  W.  Noel — Busiuess  Education  World,  Septem- 
ber, 1943. 

Some  of  the  ways  in  which  machine-shop  and  other  training 
films  are  being  used  successfully  are  described  through  testi- 
monials from  industrial  organizations,  army  and  navy  personnel 
and  from  the  results  of  a  questionnaire.  Among  the  values 
commonly  accepted  for  using  aids  are :  they  increase  interest, 
make  ideas  clearer,  set  uniform  standards  of  performance,  and 
inspire  observers  to  greater  achievement.  It  is  important 
that  the  learner  have  an  adequate  experiential  background 
before  the  films  are  shown,  so  that  learning  can  be  most  ef- 
fective. There  must  be  a  definite  interest  in  the  subject  before 
the  film  is  shown. 

PRODUCTION 
Supplement    With    Pupil-Made    Aids — Hardy    W.    Finch, 

Eleanor     D.     Child,    Greenwich,     Conn. — Nation's     Schools 
32:56  September,   1943. 

An  illustrated  description  of  the  types  of  materials  that 
could  be  made  in  a  high  school. 

PROJECTION 
On  With  the  Show — Edward  Pyle,  Jr.,  Visual  Aids  Specialist 

— American  Cincmatographer,  24:331  September,  1943. 

Practical  suggestions  for  applying  showmanship  and  skill 
in  projecting  include : 

If  possible,  arrange  the  audience  in  a  long,  narrow  group, 
projecting  down  the  length,  so  that  the  majority  can  view 
the  films  to  best  advantage.  In  a  crowded  banquet  room  pro- 
ject diagonally  across  tlie  room  to  afford  a  favorable  viewing 
angle  for  everyone. 

Use  a  screen  to  fit  the  size  of  the  audience.  The  bottom  of 
the  screen  should  be  a  little  higher  than  the  top  of  the  heads  of 
the  seated  audience.  Better  visibility  can  often  be  provided  by 
mounting  the  screen  tripod  on  three  chairs. 

In  placing  the  projector,  have  several  lenses  to  choose  from. 
Try  to  avoid  the  use  of  a  center  aisle,  as  this  space  is  the  best 
possible  viewing  position  and  should  be  used. 

In  placing  the  speakers,  don't  use  the  floor  or  the  piano.  Two 
speakers  give  better  results  with  an  audience  over  50  persons. 
Mount  the  speaker  on  a  chair  on  top  of  a  table,  or  find  a  hat 
rack  or  clothes  tree  to  hang  from. 

Use  the  high  side  of  the  tone  control  for  16mm.  projection, 
because  that  side  tends  to  have  an  excess  of  low  tones. 

Keep  the  following  accessories  at  hand :  extra  cable  cord, 
three  2S-foot  extension  cords ;  extra  fuses,  lamps,  strong  picture 
hooks  or  link  chain  for  hanging  the  speakers,  four  wedges  for 
the  projection  table,  a  small  flashlight. 

If  the  room  cannot  be  made  totally  dark,  it  is  better  to  bring 
the  projector  closer  and  give  a  smaller,  more  brilliant  image. 

Projection  Is  Fun — Holton   Howell — Movie  Makers,  18:337 

September,   1943. 

The  greater  the  technical  and  practical  skill  of  the  operator, 
the  better  the  show  will  be,  and  it  is  experience  that  counts 
every  time.  "The  wisest  advice  I  can  give  any  budding  pro- 
jectionist is  to  operate  as  many  shows  as  possible  under  all 
conditions,  good  or  bad." 

In  a  room  that  has  poor  acoustics,  a  good  trick  is  to  pile 
as  much  absorbent  material  around  the  speaker  as  is  possible, 
especially  behind  it ;  if  the  back  of  the  speaker  is  open,  place 
a  blanket  or  some  other  soft  material  over  it.  Keep  the  speaker 
as  close  to  the  screen  as  possible,  above  or  on  either  side,  so 
that  it  is  well  above  the  heads  of  the  front  row  of  the  audience. 
As  for  sound  volume  and  tone,  try  to  copy  the  effect  of  the 

{Continued  on  page  306) 


October,   1943 


Page   305 


/lci<"" 


FREE  CIRCULAR  describ- 
ing this  new  non- profit 
visual  aid  service  will 
be  sent   upon   request. 


SEPTEMBE1I 

"Through  the  Periscope" 
Shows  how  the  submo- 
rine  is  being  used  in 
World  War  II. 

OCTOBER 

"Ch/no  fighfs  Bock" 
Mme.  Chiang   Kai-shek's 
thrilling    story  of   her 
country's  courogeous  war 
effort. 

NOVEMBER 

"The  United  Statet 

Navy"  i 

This  Picture  Story  will  ! 
appear  in  full  nolural  color 
—  both  slideflims  and  re- 
prints. 


CORONET 


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Picture  Stories  for  25c 

Each  month,  CORONET,  in  its  "Picture  Story"  seaion,  presents 
a  timely  pictorial  treatment  of  some  interesting  phase  of  history 
in  the  making.  Because  these  illustrated  stories  contain  valuable 
teaching  material  for  use  in  history  and  other  social  studies, 
CORONET  is  now  contributing  to  wartime  education  by 
making  selected  issues  of  the  Picture  Story  available  to  schools 
in  two  convenient  forms — slidefilms  and  reprints.  This  service 
is  furnished  at  the  cost  of  postage  and  handling  only. 

The  slidefilms,  produced  by  the  Society  for  Visual  Education, 
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The  Picture  Story  reprints  cost  I  c  each  with  a  minimum  order 
of  25.  An  8-months'  series— 25  copies  of  each  Picture  Story  as 
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—including  at  least  one  full-color  subject— costs  only  $2.00. 

All  requests  for  either  slidefilms  or  Picture  Story  reprints, 
or  for  further  information  should  be  sent  to  the  Society  for  Visual 
Education,  Inc.,  100  East  Ohio  Street,  Chicago  {11),  Illinois, 
using  the  coupon  below. 


i 


BUY     WAR     BONDS     AND     STAMPS 


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Quantity  Please  enter  our  order  for  the  following: 

„  Subscriptions   for   the    8    CORONET  sHde-films    @    $2.00 

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n  Please  send  Free  Circular  on  the  new  CORONET  Visual  Aid  Service. 

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SOCIETY  FOR  VISUAL  EDUCATION,  InCe,  100  East  Ohio  Street,  Chicago  11,  Illinois 


7 


Page   306 


The  Educational  Screen 


.FOR    BETTER    UNDERSTANDING 
AND   LASTING   FRIENDSHIP 


SHOW  THESE  HISTORIC 
DOCUMENTARY  FILMS.' 


SPECIAL  SCHOOL  RATE.  $15.00  Each  per  day 
Book  these  films  now.' 


ONE  DAY  IN  RUSSIA 


55  MIn. 


Written   and   narrated    by  Quentin    Reynolds.     Most   eomolete   picture 
of   life   in   Soviet   Russia  ever   made.     A  factual   panorama. 


RUSSIANS  AT  WAR 


61  Min. 


Epic   story    of   a    heroic    people's    defense    against   fascist    aggression. 
Shows    Russian   factories,    loan    drives,    war    sequences. 


SIEGE  OF  LENINGRAD 


62  Min. 


Narrated  by  Edward  R.  Murrow.  ace  CBS  war  correspondent.  An 
epic  of  17  months  struggle  by  3  million  citizens,  who  flnaily 
smashed    the    Nazi    ring    of    steel. 

Also    U.    S.    War    Short    supplied    FREE    on    same    program    if    requested! 
"One     World"      Film     Catalog     sent     on     request.       Write     Dept.     ES-IO. 


|=^!^iVl^^Mj|^'''^>' 


1600  BROADWAY 
NEW  YORK  19,  N.  Y. 


NEW 

1944 

CATALOG 

Now 

Ready.' 

Thousan 

ds  of  16 

mm  Sound  Films. 

Send    postcard 

for    your    copy. 

SWANK    MOTION    PICTURES         I 

614    No.    Skinker 

St.    Louis   5.    Mo. 

theatrical  audience.  Find  the  level  of  volume  and  pitch  that 
makes  for  comfortable  listening  and  use  that  for  all  shows 
Keep  the  optical  parts  and  openings  near  the  photoelectric 
cell   free  from  dust. 

PHOTOPLAY  APFRECI.ATION 

An  Index  to  the  Creative  Work  of  Erich  Von  Stroheim — 
Hermann   G.   Weinberg,   Sight  and  Sound  Index    Series   I, 
June,    1943. 
First  in  a  series  of  indices  to  include  the  works  of  Fritz 

Lang,  Chaplin,  Renoir,  Rene  Clair,  etc. 

A  Course  in  Film  Appreciation — S.  H.  V.  Argent — Siylit  and 

Sound— 12 -.tio.  46,  p.  33,  August,  1943. 

A  rural  adult  education  course  in  Lancashire  developed 
after  films  had  been  shown  as  entertainment  and  later  as  art. 

The  scope  of  the  course  and  illustrative  films  used  are  in- 
teresting to  note. 

SOURCES 

Classified   Annotated   List  of   Available   Films   on    Riding, 
Horses  and  Subjects  Pertaining  to  Horses — Phyllis  Van 
Vleet— Research  Quarterly  13:194-8  May,  1943. 
One    of   a   series    by    the    Publications    Committee   of    The 
National    Section   on   Women's    Athletics,    American  Associa- 
tion for  Health,  Physical  Education  and  Recreation. 

Educators  Guide  to  Free  Films:  .Annotated — Mary  Foley 
Horkheimer  and  John  W.  Diffor,  editors — Educators  Pro- 
gress League,  Randolph,  Wis.  Third  annual  edition.  169 
pages,  mimeographed,  $3.00. 

Useful  for  the  fact  that  films  and  filmstrips  have  been  as- 
sembled from  many  sources.  Since  all  are  free  films,  they 
are  necessarily  intended  for  public  relations  of  one  kind  or 
another  and  selection  should  be  made  carefully  for  school 
use.  An  alphabetical  index  lists  addresses  and  gives  terms 
and  conditions  of  loan. 

Films  on  the  United  Nations:  1943-44 — United  Nations 
Information  Office,  610  Fifth  Ave.  New  York  20,  N.Y.  2Sc. 
A  compilation  of  the  films  selected  by  each  of  the  members 

of  the  United  Nations  Information  Board  as  the  best  for  use 

in  current  discussions  and  study  groups. 


Experimental  Research 

in  Audio- Visual  Education 

By  DAVID  GOODMAN,  Ph.D. 

Title:  A  STUDY  OF  AUDIENCE  REACTIONS  TO 
TWO  EDUCATIONAL  FILMS 

Investigators:  .\doi-ph  F.  5"turmthai.  and  .'\lbf.rta  Curtis — 
Institute  for  Economic  Education,  Bard  College,  Columbia 
University,   Annandale-on-Hudson,    N.   Y.   Completed    1943. 

Purpose:  To  determine  the  audience  reaction  to  two  educa- 
tional films,  which  will  supply  information  about  how  a 
film   script  should  be  written  on  the   film  directed. 

Procedure 

The  two  films  studied  were  Valley  Town  and  What  So 
Proudly  We  Hail.  What  So  Proudly  We  Hail  is  an  example  of 
a  public  relations  film  intended  to  create  good  will  for  General 
Motors  by  showing  the  satisfactory  life  of  one  of  the  com- 
pany's employees  who  is  enabled  to  follow  happily  the  "Am.eri- 
can  Way  of  life."  It  is  presented  in  an  optimistic,  cheerful, 
climate,  family  happiness  being  the  main  motif.  The  film  shows 
in  a  straightforward  coherent  fashion  the  average  round  of 
activities  of  the  family,  their  working,  playing,  eating,  visiting 
their  new  home,  marketing,  churchgoing.  There  is  practically 
no  striving  for  conscious  artistic  effects. 

Valley  Town  is  concerned  with  the  problem  of  technological 
unemployment,  and  as  a  "problem"  film  is  more  typical  an 
American  documentary  than  What  Su  Proudly  We  Hail.  It 
depends  upon  grim  realism  to  drive  home  the  message  it 
carries.  It  shows  a  community  in  two  different  periods,  under 
prosperity  and  then  under  depression  aggravated  by  tech- 
nological unemployment,  and  brings  in  a  single  family  as  an 
illustration.  The  production  seeks  much  more  for  novel  photo- 
graphic and  musical  effect,  and  the  direction  is  much  more 
self-conscious  in  its  artistry  than  that  of  What  So  Proudly. 

The  recording  of  simultaneous  reactions  was  made  technically 
possible  by  means  of  a  machine  called  the  program  analyzer, 
which  is  a  kind  of  polygraph  device.  It  was  developed  for 
testing  audience  reactions  to  radio  programs  by  Drs.  Paul 
Lazarsfeld  of  the  Office  of  Radio  Research  of  Columbia  Uni- 
versity and  Frank  Stanton  of  Columbia  Broadcasting  System. 
It  permits  respondents  to  indicate  whether  they  like  or  dis- 
like what  they  are  seeing  or  hearing,  by  means  of  a  pair  of 
buttons  held  in  their  hands,  at  the  same  time  that  they  receive 
the  performance.  Indifference  is  expressed  by  pressing  neither 
button.  The  operation  is  so  simple  as  to  disturb  the  normal 
m.ental  set  as  little  as  is  ever  possible  under  testing  con- 
ditions. The  reactions  may  be  charted  for  the  total,  and  for 
whatever  sub-groups  within  the  total  may  be  desired. 

Judgments  on  tlie  film  as  a  whole  were  obtained  by  means 
of  self-administering  questionnaires.  The  questionnaires  were 
given  to  the  people  in  the  audiences  other  than  the  number  (15) 
who  could  be  used  on  the  program  analyzer  at  any  one  time. 
Copies   are  included  in  the  appendix. 

The  total  number  judging  Valley  Toivn  by  means  of  the 
program  analyzer  was  190 ;  those  filling  out  questionnaires 
totalled  186.  The  program  analyzer  respondents  for  What  So 
Proudly  numbered  160;  the  questionnaire  respondents  ISO.  The 
groups  included  high  school  and  college  students,,  YMC.\  and 
YWCA  and  YMHAS,  business  men's  organizations,  unions, 
business  employees,  housewives.  Students  made  up  a  fairly  large 
proportion  of  the  total  groups,  but  since  students  are  also  the 
heaviest  consumers  of  educational  films,  this  is  not  too  serious 
a  bias. 

The  most  important  variables  studied  were  sex  and  edu- 
cation. In  speaking  of  educational  differences,  the  group  called 
"high"  had  more  than  high  school  education,  while  the  "low" 
group  had  high  school  education  or  less. 

Result 

The  test  of  audience  reaction  to  Valley  Town  and  What  So 
Prouply  We  Hail  do  not  afford  enough  material  to  make  any 
conclusive  statement  about  how  a  film  script  should  be  written 
or  the  film  directed.  But  the  work  done  so  far  does  allow 
certain  general  remarks  to  be  made.  There  are  responses  in 
terms   of  technical   presentations,  of   content,   and   of   personal 

{Continued  on  page  314) 


October,  1943 


Page  307 


Four  New  Kit-sets 


Skills  for  Victory 

•  New  slidefilm  Kit-sets  are  now  available  for 
these  courses  in  Pre-Induction  Training: 

Fundamentals  of  Electricity 
Fundamentals  of  ShopwoHc 
Fundamentals  of  Machines 
Fundamentals  of  Automotive  Mechanics 

They  are   correlated  with  the   Outlines  of 
Topics  for  P.I.T.  courses. 

Teachers  familiar  with  the  Jam  Handy  Kit- 
set  on  Pre-flight  Training  will  welcome  this 
news. 

In  just  one  of  these  Kit-sets,  Fundamentals 
of  Electricity,  there  are  21  slidefilms  present- 
ing 1581  lighted  pictures — ready-made  draw- 
ings and  diagrams  available  to  the  teacher  at 
any  moment. 

Now  in  Use  in  Many  Sciioois 

Users  of  Jam  Handy  discussional  slidefilms  are 
enthusiastic  in  their  praise  of  these  effective 


visual  aids — large  lighted  pictures  that  present 
ideas  and  involved  concepts  clearly  and  quickly. 

Try  a  Kit-set  in  Your  Classes 

If  you  would  like  to  try  one  of  these  Kit-sets, 
mail  the  coupon  below  to  learn  how  you  can 
have  a  free  ten  days'  trial  in  your  own  class- 
room. Or,  if  you  wish,  you  may  order  one  or 
more  of  the  complete  sets  at  prices  indicated. 


B103 
The  Jam  Handy  Organization, 
2900  East  Grand  Boulevard,  Detroit  11,  Michigan 

D  Please  enter  our  order  for  the  Kit-set(s)  checked 

below. 

n  Fundamentals  of  Electricity  (1581  pictures)  $73.25 

D  Fundamentals  of  Machines     (2210  pictures)    89.50 

n  Fundamentals  of  Shopwork    (1606  pictures)    90.50 

n  Fundamentals  of  Automotive 

Mechanics  (5598  pictures)  236.00 

n  Please  send  me  without  obligation  full  details  on 
how  I  may  try  out  a  Kit-set  in  my  own  classroom. 


Name 

Position 
Organiza  tion 

Address 


Page   308 


The  Educational  Screen 


Announcing 
a  New  Series  of  Six 


i 


AVIATION  CLASSROOM 
FILMS 


entitled 


V 


BRAY- OTIS  SERIES 


Scripts  by 
ARTHUR  S.  OTIS 
Co-Author:  Pope-Otis  Text  Book 

"ILEMENTS     OF     AERONAUTICS" 


J 


Write  for  complete  catalogue  of 

AVIATION    CLASSROOMS    FILMS 

Especially  produced  for  the  aviation  courses 
now  being  given  in  the  secondary  schools 

BRAY    PICTURES    CORPORATION 
729  Seventh  Ave.,  New  York  19,  N.  Y. 


Ooiifroiilecl  with  the  problem 
of  Iruiiiiiip  iiiillioiifs  of  men 
quickly,  i'ncic  Sam  was  fasl 
lo  apiirecialc  the  experience  of 
thoU!sanfls  of  schools  that  had 
alrea<!y  proved  the  effective- 
ness of  instrnctionnl  Alms.  And 
today,  £RI*1  films  do  ihcir  part 
—  speeding  up  the  instruction 
of  this  vast  army  of  men  — 
equippiniE.  them  quickly  aiul 
thoroughly  for  mechanized 
war. 


Already  Proved 

Equally  Effective 

in  Thousands 

of  Classrooms 


\^^hethcr  for  pre-induelion 
courses,  actual  training  pro- 
grams, or  the  regular  school 
curricula  —  ERPI  films  effec- 
tively supplemriit  personal  in- 
struction by  the  pictorial  pres- 
entation of  scientific  subjects 
being  studied. 

Write  for  FREE  Booklet  de- 
scribing ihe  ERPI  film  subjects 
which  have  been  used  so 
successfully  in  this  training 
program. 


ERPI  CLASSROOM  FILMS  INC. 


1841   Broadway 


New  York  23,    New  York 


c^. 


E(A7±    an 


OWI  Continues  Film  Circulation 

Following  conferences  with  officials  of  the  Na- 
tional Association  of  Visual  Education  Dealers, 
and  other-  educational  and  commercial  groups  last 
month,  the'  Office  of  War  Information  will  continue 
to  supervise  and  control  the  circulation  of  25,000 
16mm  prints  of  some  130  pictures,  through  the 
same  channels  as  heretofore,  in  cooperation  with 
the  eight  organizations  composing  the  16mm  War 
Film  Committee.  These  organizations  represent 
220  16mm  distributors.  Each  distributor  will  have 
the  right  to  reject  any  fihn  which  he  may  deem 
unsuitable. 

The  OWT  also  will  coordinate  any  16mm  films 
released  by  other  Government  agencies,  or  by  the 
United  Nations,  and  will  provide  a  clearing  house 
of  war  film  information  for  all  users  of  16mm  ])ro- 
grams.  It  is  planned  to  include  distribution  of  the 
OWI  films  to  the  4,000  war  plants  equipped  with 
16mm  sound  projectors. 

WAAC  Recognizes  Value  of  Visual  Aids 

At  the  Third  WAAC  Training  Center,  located  at 
Fort  Oglethorpe,  Georgia,  there  is  a  department 
that  closely  resembles  an  art  studio.  This  depart- 
ment, known  as  Plans  and  Training,  (which  han- 
dles the  instruction  of  WAAC  recruits)  emphasizes 
the  importance  of  training  aids.  These  may  be 
charts,  maps,  graphs,  color  plates  and  slides,  films 
and  models.  The  use  of  such  aids  makes  for  clear, 
accurate  conception  of  the  problems. 

For  instance,  there  is  a  huge  replica  of  the  "morn- 
ing report,"  one  of  the  more  complicated  records 
used  by  the  WAAC  and  the  Army.  This  is  used 
to  keep  the  account  of  enrolled  members  and  officers 
in  a  company.  When  this  is  displayed  at  the  front 
of  a  classroom,  the  students  may  observe  the 
method  with  which  it  has  been  filled  out — while 
the  instructor  explains.  Also  for  classroom  use 
are  charts  showing  the  different  ranks  and  grades 
of  the  armed  forces.  These  are  done  in  color  and 
the  visual  image  is  far  superior  to  any  verbal  expla- 
nation. 

The  different  schools  have  their  training  aids 
too.  such  as  Motor  Transport,  for  which  large  dia- 
grams of  motor  parts — and  the  results  of  wrong 
maintenance — have  been  made. 

The  Third  WAAC  Training  Center's  director  of 
Plans  and  Training,  Lieutenant  Henry  G.  Holt,  has 
a  keen  ap|5reciation  of  the  im]5ortance  of  visual  aids 
and  is  planning  further  development  along  this  line. 

But  how  do  ideas  become  actualities?  First, 
Third  Officer  (Second  Lieutenant)  Anna  K.  Hub- 
bard— who  is  the  Training  Aid  Officer — talks  over 
the  proposed  aids  with  the  Basic  supervisors,  in- 
structors and  company  officers.  Before  joining  the 
WAAC,  Officer  Hubbard  was  director  of  the  Mod- 
ern Youth  Section  of  the  Illinois  State  Museum  at 
Springfield    and    provided    graphic    visual    aids    for 


a 


October,   194) 


Page  309 


-JVoi 


■E± 


10,000  public  schools  in  Illinois.  The  training  aid 
is  then  made  from  the  layout  specifications  by  Sec- 
ond Officer  (First  Lieutenant)  Helen  Tuckwiller's 
department — Publications. 

Many  of  the  girls  were  commercial  artists  in 
civilian  life — but  the  training  aid  department  is 
where  military  art  flourishes.  New,  constructive 
ideas  are  wanted,  are  found — and  are  put  into  oper- 
ation— to  make  the  WAAC  more  effective  in  all 
phases  of  its  work. 

War  Savings  Filmstrip  for  Elementary  Schools 

"I  want  to  help  or  fight  ...  I  want  to  be  a 
fighting  dollar!"  That  is  the  fiery  speech  of  the 
dollar  hill  which  comes  to  life  in  the  War  Savings 
filmstri]),  "The  Story  of  Billy  Dollar."  Amusing 
cartoons  show  the  difficulties  of  this  quaint  figure 
who  has  just  made  his  escape  from  young  Johnny's 
piggy  bank. 

Awakened  by  Billy  calling  out  in  the  middle  of 
the  night,  Johnny  is  impressed  by  the  urgency  of 
his  wartime  message.  He  gets  a  new  idea  of  the 
value  of  money  and  the  importance  of  saving.  In 
fact.  Johnny  can  hardly  wait  for  morning  to  help 
Billy  Dollar  enlist  in  the  war  effort  in  the  form  of 
War  Savings  Stamps. 

Through  clever  cartoons  on  a  35  mm.  filmstrip 
of  30  frames  "The  Story  of  Billy  Dollar"  is  avail- 
able free  of  charge  for  any  school.  The  narrative  is 
provided  on  a  printed  leaflet  giving  the  dialogue 
between  Billy  and  Johnny.  The  teacher  and  her 
students  can  read  these  parts  while  the  film  is  be- 
ing shown,  thus  gaining  the  effect  of  a  talkie  right 
in  the  class. 

Schools  wishing  to  obtain  this  film  for  use  in 
elementary  classes  should  request  the  film  and 
teacher's  leaflet  from  the  Education  Section.  War 
Finance  Divi.sion,  Treasury  Department,  Washing- 
ton 25.  D.  C. 

Cas'le  Films  Retain  USOE  Films 

For  the  third  consecutive  year.  Castle  Films.  Inc.. 
Xew  ^'ork  City,  has  been  awarded  the  contract  to 
distribute  the  U.  S.  Office  of  Education  industrial 
training  films,  which  will  include  this  year  slide- 
films  and  instructor's  manual,  as  well  as  motion 
pictures.  In  addition  to  the  visual  units  produced 
by  the  USOE,  some  Army  and  Xavy  films  will  be 
handled. 

Prices  of  these  teaching  materials  will  be  higher 
in  view  of  the  Congressional  directive  that  the 
money  spent  on  production  be  recovered. 

OPA  Bulletin  Suggests  Wartime 
Activities  for  New  School  Year 

What  schools,  colleges,  and  educational  organ- 
izations are  doing  and  can  do  further  to  develop 
widespread  knowledge  of  home  front  economic 
measures, — this    is    the    theme    of   the    September 

(Concluded  on  page  313) 


^^  "FILMATIC 

Triple-Purpose 
Film  Slide  Projector 


USED 
3  WAYS 


For  2x2  Slides 

For  Single  Frame  35mm 
Slide-film 

For  Double  Frame  35mm 
Slide-film 


Used  By  the  Armed  Forces 

•k  SPEEDS  VISUAL  TRAINING 


,   New  Non-Rewind  Design 

•  SlMnates  Rewinding 

•  Motor  Driven  Forced 
Air  Cooled 

.   Feed  Capacity  up  to  300 

•  Itngle  Fran-e  Pictures 

•  Instantly  Adjustable 

•  Includes  Manumatic 
Slide  Carrier 

and  other  features 


This  new  easier-to-operate 
projector  simplifies  your  pro- 
jection problem  in  ^^ar  train- 
ing and  industrial  education. 
Provides  clearer  visibility  for 
larger  audiences.  The  Film- 
atic  is  built  like  a  pro- 
fessional model — yet  is  easily 
portable.  Has  corrected  pro- 
jection lens  (5"  f;35).  Uses 
300,  200  or  100  watt  lamps. 
Complete    with    switch,    cord 

I  and    custom-built    carrying 

'  case. 


^^  AIR-FLO 
STEREOPTON 


Above  Items  Are 
Available  Now  on 
Proper    Priority   tor 

Army    and    Navy    .    . 
Maritime     bases     .    . 
Lend-lease    .    .    .    Wa 
Industries   .   .   .   Govern 
menf    Agencies     .     . 
Medical  Professions  .  . 
Pre-lnductlon   Schools. 


•  Forced-Air  Cooled 

•  Tolies    up    to    1000 
Watt  Lamps 

Pro-Focus  Socket  Aligns 
Filament  on  Optical  Axis 

All  Steel-Welded   Structure 

Built-in  Tilting  Device 

•  Choice  of  Lenses 

•  Fully  Adjustable   Bellows 

Developed  to  meet  today's  needs 
in  training  centers  and  schools. 
Cooler-operating  .  .  .  for  long 
projection  distances.  Shows 
standard  stereopticon  slides. 
Has  powerful  but  quiet  high 
speed  motor.  Three  ground  and 
polished  lens  furnished.  3  0"  long 
overall.      Conveniently    portable. 


GeldE    MANUFACTURING    CO. 

IIJO    WIST     MADISON     SI«IET    .     CHICAGO     7,     USA 


Page   310 


The  Educational  Screen 


NEW  FILMS  OF  THE  MONTH 

As  They  Look  to  A  Teacher  Committee 


Conducted  by  L.  C.  LARSON 

Instructor  in  School  of  Education 
Consultant  in  Audio- Visual  Aids 
Indiana  University,  Bloomington 


Campus  Frontiers 

(Antioch  College,  Yellow  Springs,  Ohio),  28  minutes 
16mm.,  sound,  kodachrome.  For  information  write  Presi- 
dent A.  D.  Henderson,  Antioch  College. 

Shows  how  Antioch  College  has  "pushed  its  campus  into 
the  mills,  the  stores,  the  offices  of  America."  Introductory 
campus  scenes  show  the  students  in  classrooms,  conferences, 
and  campus  activities.  Students  are  then  shown  at  work  on 
some  sixty  jobs  in  three  major  areas:  business,  social  science, 
and  industry  and  research.  The  picture  shows  a  reporter 
interviewing  a  police  sergeant,  an  accountant  with  Inter- 
national Printing  Ink,  a  student  at  work  for  American  Air- 
lines, another  at  the  National  Broadcasting  Company  in 
Radio  City.  Other  scenes  show  other  students  on  such  jobs 
as  school  teachers,  recreational  directors,  social  case  workers, 
and  research  assistants. 

Finally,  "Campus  Frontiers"  follows  students  into  war 
industry  and  science.  A  student  tests  a  giant  searchlight  at 
Sperry  Gyroscope;  another  operates  desulphurizing  equip- 
ment he  helped  to  design  for  Ethyl  Gasoline;  another  pre- 
pares medicines  in  the  Abbott  Laboratories. 

Between  each  group  of  jobs,  scenes  on  the  campus  show 
the  students  bringing  experiences  from  their  jobs  to  the 
classroom.  The  film  shows  journalism  classes  studying  the 
problems  of  publishing  a  newspaper  and  relating  these  prob- 
lems to  their  actual  work  experiences;  sociology  classes  sup- 
plementing the  textbook  material  with  the  knowledge  they 
had  gained  in  settlement  houses  and  hospitals.  Closing 
scenes  reveal  that  it  is  the  experience  gained  from  sharing 
life  as  it  is  lived  that  enables  Antiochians  to  run  their  own 
school  government  and  to  enjoy  very  democratic  principles. 
Committee  Appraisal:  Directed  and  photographed  by 
Chuck  Klein,  an  upperclassman  at  Antioch  College,  this 
films  shows  how  the  study  of  contemporary  America  vita- 
lizes liberal  education,  gives  the  students  vocational  guid- 
ance and  experience,  helps  develop  interest  and  skills  in 
democratic  processes,  and  enables  students,  through  alter- 
nating study   and  work,   to  aid  in   the   national   war  effort. 

Wings  of  Youth 

(National  Film  Board  of  Canada,  Ottawa)  19  minutes, 
16mm,  sound.  Purchase  price  $30  or  loan.  For  information 
write  Miss  J.  Margaret  Carter,  National  Film  Board  of 
Canada,  84   East  Randolph  Street,  Chicago,   Illinois. 

The  film  opens  with  scenes  of  aerial  dogfights  from  the 
last  war;  the  commentator  explains  that  one  out  of  every 


This  monthly  page  of  reviews  is  conducted  for  the 
benefit  of  educational  film  producers  and  users  alike.  The 
comments  and  criticisms   of  both  are  cordially   invited. 

Producers  wishing  to  have  new  films  reviewed  on 
this  page  should  write  L.  C.  Larson,  Indiana  University, 
Bloomington,  Indiana,  giving  details  as  to  length,  content, 
date  on  which  the  film  was  issued,  basis  of  availability, 
prices,  producer,  and  distributor.  They  will  be  informed 
of  the  first  open  date  when  the  Teacher  Committee  will 
review  the  films.  The  only  cost  to  producers  for  the 
service  is  the  cost  of  transporting  the  prints  to  and 
from  Bloomington.  This  Cost  Must  Be  Borne  By  The 
Producers. 


Assisted  by  CAROLYN  GUSS 
and  VIOLET  COTTINGHAM 

Extension  Division 

Indiana  University,  Bloomington 

three  pilots  in  the  last  war  was  a  Canadian.  The  post-war 
activity  of  Canadian  flyers  was  devoted  to  exploration  of  the 
far  north  and  forest  patrols. 

The  film  then  proceeds  to  describe  Canada's  present  war 
activity  in  the  skies.  Scenes  of  young  men  enlisting,  or 
schools  being  built,  of  huge  airplanes  being  constructed, 
of  planes,  of  hangars,  of  planes  arriving  from  Britain  and 
from  Australia,  and  of  the  feverish  activity  to  train  pilots 
and  crews  for  defense  and  offense. 

The  intensive  ground  training  is  depicted  as  the  men 
receive  exhaustive  physical  and  mental  examinations,  be- 
come accustomed  to  high  altitudes  by  spending  time  in 
the  decompression  chambers,  learn  the  feel  of  the  plane 
in  the  Link  trainer,  attend  schools  for  math  and  radio 
backgrounds,  and  learn  to  fly  by  instruments.  The  scene 
then  shows  the  service  crews  at  school  and  at  work  on  the 
planes.  The  crews  of  the  huge  bombers  are  shown  learning 
to  bomb  on  paper,  to  develop  accuracy  with  guns,  to  work 
as  teams. 

Following  the  nine  weeks  of  intensive  training,  the  pilot 
is  ready  for  his  first  solo.  The  instructor  gives  the  young 
pilot  his  last  instructions,  and  the  pilot  is  shown  on  his  own 
in  the  skies.  Graduation  day  arrives  and  the  men  receive 
their  wings  and  are  inspected  by  an  important  air  marshal! 
of  the  last  war.  Upon  graduation,  the  pilot  receives  further 
training  by  flying  larger  planes  in  battle  formation  and 
working  with  full  crews. 

The  film  closes  with  shots  of  planes  over  Sydney  Bay 
and  New  Zealand  and  a  final  salute  to  the  youth  who  fly 
the  planes. 

Committee  Appraisal:  This  film  could  be  used  to  gain 
some  idea  of  Canada's  war  efifort,  methods  of  training  and 
schooling  airmen,  and  the  progress  Canada  has  made  in 
aviation.  The  film  would  be  an  interesting  one  to  use  with 
the  U.  S.  Army  Air  Force  film,  "Wings  Up." 

World  of  Plenty 

(British  Information  Services,  360  North  Michigan 
Avenue,  Chicago)  45  minutes,  16mm,  sound.  Purchase 
price  $47.00.  Produced  by  Paul  Rotha  for  Ministry  of  In- 
formation. Apply  to  distributor  for  rental  sources.  Dis- 
cussion guide  available  from  Educational  Film  Library 
Association,  45  Rockefeller  Plaza,  New  York  City. 

This  film  presents  the  three  constant  problems  of  food — 
production,  distribution,  and  consumption.  By  pictures, 
diagrams,  and  commentary,  the  film  points  up  that  food 
is  man's  chief  security.  The  first  of  three  parts,  "Food 
As  It  Was,"  presents  the  condition  in  prewar  days — over- 
production and  destruction  of  food  to  maintain  prices  even 
though  there  were  hungry  malnourished  people.  Shots  of 
coffee  being  dumped,  of  wheat  and  grain  being  burned  vita- 
lize the  diagram  which  explains  the  amount  of  food  de- 
stroyed in  proportion  to  that  produced.  Scenes  of  Amer- 
ica's poorly-fed  families  living  in  hovels  symbolize  the 
one-third  of  the  population  of  the  LTnited  States  that  is 
under-nourished.  The  British  prewar  situation  is  clearly 
illustrated  by  diagrams  which  show  the  amount  of  food 
imported  to  feed  Britain's  people.  Diagrams  show  that  in 
spite  of  the  presence  of  malnutrition,  experts  had  increased 
the  average  physical  strength  and  life  span. 

The  second  part,  "Food  As  It  Is,"  emphasizes  the  stra- 
tegic importance  of  food  in  this  war.    Animated  maps  ex- 

(Coiitimied  on  page  312) 


October,  1943 


Page  311 


'y  y> 


One  of  Eastman's  latest... 

FORMS  and  USES 
of  the  TEETH 

...  for  your'classes  in 
Biology  and  Health" 


m^ 


Good  teeth  are  e><ential 
to  health  and  add  to 
the  appearance 


T  TERE  is  a  new  film  on  a  subject  which,  in  its 
"*■  -*■  relation  to  human  health,  has  never  been 
more  important  than  it  is  today.  Pictured  are 
various  adaptations  of  animal  teeth,  such  as  the 
tearing  teeth  of  the  shark — the  poison  fangs  of 
snakes — ^the  incisors  of  the  beaver — the  highly 
specialized  tusks  of  the  elephant,  wart  hog,  and 
walrus.  The  adaptation  of  teeth  to  herbivorous 
and  carnivorous  diets.  Human  teeth — their  types, 
their  uses,  their  importance  to  health.  Corrective 
dentistry.  1  reel,  1 6-millimeter,  silent — $24. 


1  1 

W^  '^' 

j.-^^ 

^ 

^ 

Sharks'  leeth,  arranged  in  rows,  are  used  for 
catching  and  tearing  p  ey 


The  sharp  canines  of  the  dog  are  adapted  for  tearing  meat 


The  tusks  of  the  walrus  are  used  for  purposes 
of  defense  and  locomotion 


Write  Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N,  Y, 

Eastman  Classroom  Films 


Page   312 


The  Educational  Screen 


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(Continued  jruin  page  310) 

plain  how  Britain's  importing  has  been  curtailed;  how  the 
Lend-Lease  is  helping  the  British;  how  they  ration  their 
foods.  British  nutrition  experts  report  on  the  health  of  their 
people  under  war  conditions. 

"Food  As  It  Might  Be,"  the  last  part,  suggests  post-war 
responsibilities  of  all  nations.  Shots  taken  during  the  last 
war  reveal  children  dead  from  starvation,  crippled  children, 
scorched  fields,  burned  villages,  emaciated  cattle.  These 
results  indicate  the  scope  of  the  problem  confronting  nations 
after  this  war.  Pictures  of  the  Churchill-Roosevelt  meeting 
on  the  Atlantic  strike  the  keynote  of  postwar  planning — 
freedom  from  want  for  all  men.  A  diagram  explains  the 
individual's  responsibility  to  the  state  to  maintain  good 
health  and  the  state's  obligations  to  the  individual  to  pro- 
vide him  with  necessary  materials.  Scientists  are  shown 
experimenting  with  grain,  cattle,  and  soil.  The  commentator 
explains  that  nations  should  pool  their  knowledge  for  in- 
creased production.  The  experts  point  out  that  after  the 
war,  the  Allied  Nations  have  three  responsibilities  to 
perform  for  themselves  and  for  the  conquered  countries; 
grow  more  food  for  their  own  people;  grow  more  food  for 
starving  countries;  give  scientific  aid  to  the  stricken  coun- 
tries. 

Throughout  the  film  a  number  of  experts  report  tlieir 
findings  and  suggestions.  Some  of  these  are  Claude  R. 
Wickard,  former  U.  S.  Secretary  of  Agriculture;  Lord 
Woolton,  British  Minister  of  Food;  Mr.  Wellington  Foo, 
Chinese  Ambassador  to  Great  Britain;  and  President  Roose- 
velt. The  film  closes  with  Vice-President  Wallace's  speech 
on  the  "century  of  the  common  man"  and  a  final  plea  in  the 
film  for  a  control  of  food  production  that  will  insure  every- 
one's having  enough  of  the  right  kind  of  food  in  order  to 
effect  freedom  from  want. 

Committee  Appraisal:  The  story  of  man  and  food — past, 
present,  and  future — is  told  by  two  men,  a  commentator 
and  a  heckler.  The  many  facets  of  the  problems — a  secure, 
adequate  and  suitable  supply  of  food  for  every  man — are 
challengingly  presented  through  the  creative  use  of  ani- 
mated diagrams,  pertinent  pictorial  material,  trick  optical 
eflfects  and  recorded  declarations  of  world  citizens  and 
scientists.  Highly  recommended  for  secondary  and  college 
classes  in  social  studies,  home  economics,  agriculture  and 
economics  and  for  assembly  programs,  adult  groups  and 
forums. 

This  Too  is  Sabotage 

(Westinghouse  Electric  and  Manufacturing  Company,  Vis- 
ual Education  Section,  Mansfield,  Ohio)  28  minutes,  16mm. 
sound.  Produced  by  Roland  Reed,  Hollywood.  Purchase 
price  $52.32,   rental   free   from   distributor. 

The  film  presents  the  problem  of  health  sabotage  in  homes 
and  industrial  plants.  That  malnutrition  is  an  important 
factor  in  home  defense  is  attested  by  the  fact  that  450.000,000 
man  days  were  lost  last  year  because  of  fatigue,  that  four 
out  of  every  ten  draftees  cannot  meet  the  physical  require- 


October,  1943 


Page   313 


THE  FIRST  COMPLETE  MOTION  PICTURE 
STORY  EVER  FILMED  INSIDE  VATICAN  CITY 

Rf.«.v./H...f,..,  FULTON  J.  SHEEN 


Ph.D.,D.D..ll.D. 


^^^^^^  THE  STORY  OF 

"  with   Intimale  Scenes  of 

HIS  HOLINESS  POPE  PIUS  XII 

A  FULL-LENGTH  FEATURE 
Produced  by  THE  MARCH  OF  TIME 


You  Can't  Go  to  Rome 

But  You  Can  See 

The  VATICAN 

A  MUST  tor  all  creeds.' 
No  picture  more  timely! 

•  THE  STORY  OF  THE  VATICAN 
is  both  informative  and  entertaining. 
Takes  you  where  even  the  most 
privileged  are  barred  as  it  unfolds 
the  story  of  the  smallest  Sovereign 
State.  Depicts  the  efforts  of  His 
Holiness  Pope  Pius  XII  to  bring  peace 
to  a  war-torn  w^orld. 
Show^s  the  murals  of  Michelangelo 
in  the  Sistine  Chapel  .  .  .  the  'wonders 
■  of  the  basilica  of  St.  Peters  .  .  .  the 
Vatican  library,  the  Burial  Crypts, 
the  powerful  Radio  Station,  Post 
Office  and  Shops. 

Highly    recommended    for    school 
showings. 

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ments  for  Army  combat  service,  and  that  three  out  of  every 
four  citizens  of  the  United  States  are  gambling  with  a 
chance  for  health  because  of  undernourishment. 

Constructive  measures  have  been  promoted  and  undertaken 
by  various  governmental  agencies.  In  the  film  a  health  ex- 
pert meets  with  a  group  of  housewives  and  explains  to  them 
that  all  foods  are  divided  into  seven  main  groups — green 
and  yellow  vegetables;  citrus  fruits  or  tomatoes;  other 
vegetables  and  fruits;  milk  and  milk  products;  meat,  poultry, 
and  eggs;  bread,  flour,  and  cereals;  butter  and  fortified 
margerine.  From  her  samples  of  the  basic  groups  of  foods 
she  selects  those  suggested  for  the  three  daily  meals  re- 
quired by  the  person  engaged  in  moderate  activity. 

The  film  follows  some  of  the  women  who  attended  the 
lecture  into  their  own  homes  selecting  foods  from  the  seven 
basic  groups,  preparing  and  serving  meals.  One  husband. 
in  particular,  is  especially  recalcitrant  and  refuses  to  eat  the 
"rabbit  food"  as  he  sarcastically  dubs  his  salad.  All  the 
time  his  wife  patiently  endeavors  to  impress  upon  him  the 
need  for  the  different  types  of  foods  and  explains  to  him 
that  some  of  the  days  he  lost  might  be  attributed  to  im- 
proper diet. 

N'ext  is  shown  the  improper  lunch  of  Dan  Carter  who 
might  represent  the  8,000,000  workers  in  factories.  For 
his  inadequate  lunch  of  meat,  jelly,  plain  white  bread, 
pickles,  cookies,  and  coffee  is  suggested  a  well-balanced  and 
more  nutritive  meal.  An  accident  which  befell  Dan  Carter 
later  in  the  afternoon  is  attributed  to  his  daily  insufficient 
diet. 

.\  flash-back  to  the  husband  who  was  reluctant  to  change 
his  eating  habits  shows  him  enjoying  uncooked  vegetable 
salad.  The  film  concludes  with  an  analogy  between  the  fuel 
used  by  a  car  and  the  food  consumed  by  the  human  body. 

Committee  Appraisal:  .\  comprehensive  and  meaningful 
treatment  of  the  seven  main  groups  of  foods  and  the 
different  types  of  food  required  for  a  balanced  and  nutritive 
meal.    Recommended  for  use  in  classes  in  home  economics. 


health,  and  general  science  on  the  secondary,  college  and 
adult  levels.  The  film  would  have  been  more  effective  had 
there  been  less  use  of  the  lecture  technique  and  more  use 
of  close-ups. 

News  and  Notes 

(Concluded  from  page  309) 

number  of  the  OPA  Bulletin  for  Schools  and  Col- 
leges, just  issued  by  the  Educational  Services 
Branch  of  the  Office  of  Price  Administration.  Arti- 
cles describe  the  educational  programs  related  to 
OPA  which  have  been  and  are  being  carried  on  by 
elementary  schools,  high  schools,  colleges  and  uni- 
versities, adult  education  grou])s.  State  Depart- 
ments of  Education,  and  city  .-^chool  systems.  These 
I)rograms  include  a  variety  of  activities. 

To  illustrate  various  articles,  the  Bulletin  con- 
tains ]jhotographs  of  elementary  school  pupils 
buying  and  selling  in  a  classroom  store,  or  upper 
grade  children  shopping  with  ration  books,  of  sec- 
ondary teachers  instructing  youth  in  the  use  of  War 
Ration  Book  Two,  of  home  economics  pupils  learn- 
ing home  canning,  and  of  a  teacher  discussing  point 
rationing  with  a  group  of  homemakers. 

Scattered  throughout  the  Bulletin  are  cartoons 
dramatizing  the  fight  against  inflation.  The  issue 
closes  with  a  selected  and  annotated  bibliography 
on  price  control  and  rationing. 

Copies  of  the  OPA  Bulletin  for  Schools  and  Col- 
leges may  be  obtained  free  upon  request  from  the 
nearest  OPA  Regional  Offlce. 


Page   314 


The  Educational  Screen 


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(Continued  from  page  306) 

predispositions   which   seem,  even   with   so  liinited   data,  to  be 
typical.     To  verify  their  typicalness  would  require  further  re- 
search. 
Conclusions 

Technical  Presentation 

1 — The  visual  part  of  the  film  presentation  seems  to  be  far  the 
most  important  element  in  determining  the  trend  of  likes  and 
dislikes  as  the  film  is  seen.  The  variations  in  the  charts  of 
reactions  seem  to  depend  much  more  upon  changes  in  visual 
than  auditory  stimuli.  And  the  reasons  given  during  interviews 
on  the  likes  and  dislikes  recorded  are  much  more  concerned 
with  visual  elements  than  anything  in  the  commentary  or 
sound.  Music,  when  it  is  mentioned,  is  judged  favorably  for 
the  way  it  sustains  and  provides  a  background  for  what  is  on 
the  screen,  and  unfavorably  if  it  is  considered  incongruous  or 
unsuitable  to  what  is  seen.  Film  music  is  evidently  regarded 
as  a  background  eleinent  mainly. 

2 — There  is  much  evidence  in  this  material  to  support 
the  simple  proposition  that  a  most  essential  requirement  of  a 
motion  picture  is  that  it  move.  In  both  films,  there  is  marked 
liking  for  sequences  which  embody  a  fairly  quick  succession  of 
action  shots,  particularly  shots  of  machinery  in  rhythmic 
motion. 

3 — There  are  numerous  examples,  particularly  in  Valley 
Town,  of  decline  in  liking  for  certain  sequences  which  were 
liked  considerably  at  first.  The  respondents'  reasons  indicate 
that  the  decline  is  due  to  the  sequences'  lasting  too  long.  Some 
of  the  much-liked  machine  sequences  are  cases.  Nothing  can  be 
said  about  how  long  a  sequence  ought  to  be,  since  it  depends 
entirely  upon  how  it  is  done,  and  how  the  interest  is  sus- 
tained, but  the  slump  in  liking  for  some  of  the  Valley  Town 
sequences  should  be  studied. 

A — The  transitions  between  sequences  in  both  films  meet 
with  indifference — a  decline  in  both  likes  and  dislikes.  This 
may  not  necessarily  be  an  adverse  criticism,  because  interest 
cannot  be  held  at  equal  pitch  all  the  way  through,  and  it  may 
be  advisable  to  give  mental  breathing  spells  in  an  educational 
film.  It  might  be  that  subjects  simply  get  tired  of  reacting 
except  at  the  most  climactic  shots.  But  two  small  studies  of 
March  of  Time  films.  The  TVA  and  Our  America  At  War, 
resulted  in  charts  which  do  not  have  these  characteristic  dips 
between  sequences.  Long,  slow  fades  between  sequences  are 
particularly  apt  to  create  such  indifference. 

S — Unnecessary  material  or  completely  familiar  material  in- 
troduced   into    the    film    meets   with    indifference. 

On  the  other  hand,  common  actions  and  symbols  of  every- 
day, typical  life  can  be  shown  with  favorable  reaction  if  given 
the  right  build-up  as  symbols  in  the  commentary.  Milk  bottles 
on  the  steps  in  early  morning,  Mr.  Case  shaving  in  the  bath- 
room were  liked  as  symbols  of  the  "American  way"  because 
of  the  stress  on  this  symbolic  value  in  the  script. 

6 — Close-ups  of  expressive  faces  are  well-liked  in  general, 
tut  especially  in  conjunction  with  certain  actions  or  ideas  of 
which    they   clearly   reflect   the    significance. 

7 — The  mood  of  the  presentation  is  of  considerable  import- 
ance in  determining  reactions.  The  depressing  mood  of  Valley 
Town,  and  the  cheerful  one  of  What  So  Proudly  are  referred 
to  very  often  as  causes  of  dislike  and  like  respectively.  This 
comes  mainly  under  the  content  aspect,  but  beauty  and  pleasant- 
ness of  setting  as  opposed  to  ugliness  and  squalor,  lifting  music 
as  opposed  to  slow,  clear  lighting  as  opposed  to  cloudy,  are 
presentation  aspects  chosen  to  carry  certain  types  of  content. 
Content 

1 — To  continue  the  last  point  above :  The  response  to 
people  gaining  in  happiness  and  possessions,  managing  well, 
machines,  producing,  goods  getting  into  use — all  these  gainful 
aspects  termed  "indulgent"  in  a  classification  for  content  a:i- 
alysis  suggested  by  Dr.  Harold  Lasswell,  is  on  the  whole 
favorable.  Response  to  "deprivational"  aspects — people  suffer- 
ing, production  cut  off,  communities  deserted — is  generally  one 
of  dislike.  This  may  be  due  in  part  to  the  difference  in  action, 
depression  being  portrayed  in  Valley  Town  mainly  in  slow-mov- 
ing, rather  long  sequences.  But  there  seems  to  be  definite 
dislike  of  the  deprivation  which  goes  beyond  dislike  of  the 
way  it  is  presented. 


October,  1943 


Page  315 


I 


Among  the  scenes  most  frequently  recalled  from  Valley 
Town,  immediately  after  seeing  it,  those  with  a  strong  de- 
privational  element  prevail,  but  this  is  not  at  all  conclusive 
evidence  that  the  deprivational  is  more  impressive,  in  general. 
More  study  would  have  to  be  made  of  this  point  to  under- 
standing the  relationshii)  between  enjoyment  and  imprcssivc- 
ness.  It  should  not  necessarily  be  concluded  that  the  depressing 
aspects  should  be  cut  out  of  an  educational  film  even  if  they 
are  disliked.  This  data  indicates,  however,  that  the  film  director 
should  handle  such  material  with  conciousness  of  this  type 
of  reaction.  Excessive  use  of  "grim  realism"  may  contribute 
more  to  feelings  of  insecurity  than  it  does  to  the  driving  home 
of  a  necessary  point.  (A  recent  cartoon  on  the  documentary 
film  depicted  only  its  search  for  the  sordid.) 

2 — The  audiences  would  like  to  have  the  film  tell  a  story.  Not 
only  do  they  like  action  within  a  sequence,  but  they  build 
up  at  many  points  an  attitude  of  expectancy  that  action  is  going 
to  occur,  "something  is  going  to  happen."  The  expectancy  of 
developments  which  is  so  strong  a  part  of  the  enjoyment  of  a 
theatrical  film  gets  built  up  also  for  documentaries,  and  in 
terms  of  considerable  pleasure.  Presenting  people  under  emo- 
tional stress  seems  to  create  this  demand  for  a  story-denoue- 
ment. Whether  this  expectancy  was  satisfied  or  disappointed 
does  not  become  clear  in  this  material. 

3 — Grasp  of  the  message  of  the  film,  the  ideas,  was  found 
to  be  proportionate  to  the  clarity  with  which  it  is  presented 
in  the  film.  The  main  cause  for  technological  unemployment 
was  not  stated  clearly  in  Valley  Town,  and  was  recognized 
by  only  two-fifths  of  the  respondents ;  the  solution  for  un- 
employment suggested  in  the  film  was  clearly  and  emphatically 
stated,  and  was  recognized  in  the  checklist  of  proposed 
solutions  by  four-fifths  of  the  subjects. 

4 — The  majority  agreed  that  the  conditions  and  human  re- 
lations presented  in  the  films  were  representative  of  conditions 
in  general.  But  the  high-educated  found  IVhat  So  Proudly. 
less  representative  and  I' alley  Toum  more  representative  than 
the  less-educated. 

Peksonal  Responses 

1 — There  were  many  individual  and  group  predispositions 
traceable  in  the  responses  to  the  film  presentation  and  content — 
mainly  content.  For  one  example,  the  role  of  self-identi- 
fication among  the  respondents'  reasons  for  liking  What  So 
Proudly  was  amazingly  high,  making  up  a  fifth  of  all  the 
reasons  given  in  the  interviews  on  the  program  analyzer  re- 
actions. 

2 — .\nother  form  of  identification  was  on  a  more  mental 
plane.  When  the  film  expressed  views  or  showed  behavior 
which  bolstered  up  or  agreed  with  what  the  respondents  thought 
already,  it  made  a  strong  appeal.  This  was  particularly 
strong  for  What  So  Proudly,  making  up  another  fifth  of  the 
reasons  for  liking  in  the  program  analyzer  interviews.  A 
home  owner  believes  that  a  man  should  own  his  own  home, 
a  church  member  likes  to  see  the  Cases  go  to  church,  etc. 

Although  it  goes  beyond  the  evidence  in  our  data,  this 
kind  of  identification  must  certainly  form  a  powerful  entering 
wedge  for  any  propagandistic  point  which  a  film  wants  to  make. 
It  may  or  may  not  be  evidence  on  this  point  that  only  a 
small  minority  checked  in  the  questionnaire  that  the  film  was 
intended  to  create  good  will  for  big  business.  Many  more 
checked  "both  big  business  and  labor"  than  either  big  business 
or  labor  alone.  This  was  surprising  for  a  film  which  is  patently 
a  public  relations-builder  for  a  large  company. 

3 — The  many  breakdov/ns  of  the  responses  by  personal 
characteristics  in  the  detailed  report  of  the  research  are  too 
numerous  to  summarize.  Some  of  them  were  so  clearcut 
as  to  allow  predictions  even  with  the  limited  amount  of  material. 
In  tracing  the  differences  in  reactions  of  males  and  females  to 
What  So  Proudly,  in  the  program  analyzer  charts,  it  was  found 
that  the  sex  which  would  predominate  in  liking  any  given  part 
could  be  predicted  with  a  high  degree  of  accuracy  after 
studying  the  first  third  of  the  script.  Certain  typical  re- 
sponses by  educational  level  became  apparent,  though  not  sc 
markedly  so  as  the  example  mentioned.  The  higher-educated 
tended  to  like  better  than  the  low  the  less  personalized  se- 
quences, the  mechanical  processes  and  skills,  the  shots  with 
marked  symbolic  value,  the  more  unusual  photographic  eflfects 
such  as  a  montage.  The  less-educated  were  more  appealed  to 
by  domestic  scenes,  by  the  more  sentimental  scenes  generally. 


Enjoy  Greater  Variety 

HAL  ROACH 


Feature  Releases 

on  16mm.  sound 

CAPTAIN  CAUTION— Victor  Mature,  Leo  Carrillo,  Bruce 

Cabot   in    Kenneth   Roberts'    historical    saga    of   the   sea. 
SAPS  AT  SEA — Stan  Laurel  and  Oliver  Hardy  head  into 

a   gale  of  merriment  and   blow  the  gloom  hatches  sky- 
high  in  their  antics  on  the  briny  deep. 
THERE   GOES    MY    HEART— Fredric  March   and   Virginia 

Bruce  in   an  absorbing  newspaper  story. 
ZENOBIA  (An  Elephant  Never  Forqets) — Oliver  Hardy, 

Harry  Langdon,   Billie  Burke   in  a   bright,  original  pic- 
ture.   See  and  hear  Zeke  recite  the  Introduction  to  the 

Declaration  of  Independence. 
TOPPER    TAKES    A    TRIP  — Constance    Bennett,    Roland 

Young  in  an  unusual  comedy  full  of  camera  tricks. 
CAPTAIN    FURY — Brian    Aherne,    Victor    McLaglen    in    a 

thrilling  story  of  Australia's  Robin  Hood. 
THE    HOUSEKEEPER'S    DAUGHTER— Joan    Bennett    and 

Adolphe  Menjou   in   a   laugh-packed   comedy. 
A  CHUMP  AT  OXFORD— Stan  Laurel  and  Oliver  Hardy 

at    their    funniest    in    a    comedy    about    life    at    Oxford 

University. 
OF  MICE  AND  MEN— Burgess  Meredith,  Betty  Field,  Lon 

Chaney,  Jr.  in  John  Steinbeck's  great  drama. 
ONE  MILLION   B.  C. — Victor  Mature,  Carole  Landis,  Lon 

Chaney,  Jr.  in  an  unusual  prehistoric  setting. 
TURNABOUT — Adolphe    Menjou     and     Carole     Landis    in 

Thorne   (Topper)   Smith's  most  hilarious  novel. 
Available  at  your  film  library. 
Send   for    our    Free    Catalog   with   complete    list   of    many    otHer 
educational    and    recreotional     16     mm.     sound    films. 

POST  PICTURES  CORP. 


723  Seventh  Ave. 


Dept.  10  New  York  19.  N.  Y. 


--keeping  step 
toward  Victory! 

Our  Country's  interests  are  paramount  until  the 
present  struggle  for  the  rights  of  man  is  victoriously 
concluded.  In  the  meantime,  every  Holmes  Pro- 
jector now  being  made  is  absorbed  by  Government 
requirements  for  visual  training,  education  and 
entertainment  of  our  armed  forces  on  land  and  sea 
to  the  far  corners  of  the  earth. 

If  adjustments  and  repairs  are  ever  necessary  to 
keep  your  present  Holmes  equipment  in  good  run- 
ning order,  such  requests  will  be  handled  as  prompt- 
ly as  present  conditions  permit. 

HOLMES  PROJECTOR  COMPANY 

ManufacturerH   of   16mm    and  35mm    Sound-on-Film 
Projectors   for  over  23  years  to  Dealers  and   Users 

1t13  ORCHARD  STREET  CHICAGO  14 


Page   316 


The  Educational  Screen 


(2wizs.nt  ^LLm  <:J\fs.(xr± 


■  Walter  O.  Gutlohn,  Inc.,  25  W. 
St.,  New  York  City,  has  released  a 
timely  six-reel  feature  film  in  16mm 
sound  on: 

The  Story  of  the  Vatican  —  de- 
picting the  inside  story  of  the  smallest 
sovereign  state  in  the  world.  This 
film  is  the  first  complete  motion 
picture  of  the  Vatican  and  was  filmed 
by  the  March  of  Time  with  the  permis- 
sion and  full  authorization  of  the 
Vatican  officials.  Revealed  are  many 
places  within  the  Vatican  where  visi- 
tors are  excluded.  The  great  archi- 
tectural and  artistic  treasures  are 
shown,  and  the  governmental  busi- 
ness activities  of  the  Papal  State. 

Emphasizing  the  fact  that  the  Vatican, 
though  only  one-sixth  of  a  mile  in  ex- 
tent, is  nevertheless  a  complete  state. 
March  of  Time  shows  in  turn,  the  tiny 
railroad,  shortest  in  the  world,  the  post- 
office,  stores,  the  unique  "bar,"  the  cur- 
rency, the  fire  department,  power  plant, 
workshops,  gardens,  maintenance  crews, 
caretakers  and  the  picked  men  who  com- 
prise the  Papal  Gendarmes  and  the  Swiss 
Guard  of  heroic   tradition. 

The  story  of  the  Vatican  would  not  be 
complete  without  some  reference  to  its 
art  treasures.  The  film  not  only  presents 
some  of  the  greatest  of  the  world's 
masterpieces  which  the  Vatican  contains, 
but  illustrates,  as  well,  the  ingenious 
skills  and  techniques  developed  for  their 
preservation    through    the   ages. 

In  addition  to  these  revelations  The 
March  of  Time  brings  to  the  screen  a 
vivid,  enthralling  series  of  intimate 
studies  of  His  Holiness  Pope  Pius 
XII.  Opening  with  the  origins  of  the 
Holy  See,  the  film  shows  how  Cardinal 
Pacelli  was  crowned  Pope  to  face  a 
world  torn  by  war  and  oppression.  This 
challenge  he  meets  by  embarking  upon  an 
unremitting  campaign  for  peace  that  is 
to  utilize  every  resource,  medieval  and 
modern,  at  his  command.  Thus  the 
Vatican  radio  and  daily  newspapers  are 
seen  to  draw  for  reference  upon  a  li- 
brary whose  seven  miles  of  shelved 
volumes  include  some  of  the  oldest  Latin 
manuscripts  extant. 

The  film  touches  upon  the  various 
ecclesiastical  groups  dedicated  to  ritual 
and  tradition.      Msgr.   Fulton  J.   Sheen's 


enlightening  commentary  interprets  visits 
to  the  Academy  of  Science,  the  North 
American  College,  and  the  seats  of  the 
Jesuit  and  Dominican  orders.  A  series 
of  vivid  studies  of  the  Pope  addressing 
his  advisory  body  on  peace  brings  the 
film  to  a  close. 

■  Films  Incorporated.  330  W.  42nd 
St.,  New  York  City  have  issued  a  new  and 
attractively  illustrated  School  List  of 
Feature  Films  and  Short  Subjects,  which 
is  the  most  comprehensive  they  have  yet 
compiled,  being  twice  as  big  as  last  year's 
edition.  Printed  in  four  colors,  its  si.xty- 
four  pages  list  a  large  variety  of  majm 
studio  16mm  films,  both  features  and 
shorts,  specifically  selected  for  their  edu- 
cational content,  and  available  to  all 
types  of  schools  at  rental  rates  based  on 
actual  enrollment.  The  films  range  from 
Bob  Benchley  comedies  to  the  histori- 
cally significant  "Union  Pacific''  and 
"Wake  Island."  The  short  subjects  are 
grouped  under  government,  economics 
and  history;  art  and  music;  biology  and 
science;  documentary  and  physical  geo- 
graphy ;  health  and  sports  ;  cartoons  ;  mis- 
cellaneous. 

Study  Guides,  prepared  with  the  as- 
sistance of  eminent  authorities,  are  avail- 
able for  almost  all  School  List  films. 
Highlights  from  the  16-page  Study  Guide 
on  "The  Buccaneer"  are  reproduced  in 
the  catalog,  as  well  as  the  enthusiastic 
comments  of  educators  who  are  using 
feature  films  for  auditorium  showings 
and  curriculum  correlation. 

■  Allis-Chalmkrs  Manufacturing  Co. 
Milwaukee,  Wisconsin,  is  distributing 
a  film  designed  to  speed  up  pre-training 
of  student  engineers,  operators  ,and 
maintenance  men,  produced  for  them 
by  The  Jam  Handy  Organization  of 
Detroit,  and  entitled: 

The  Magic  of  Steam — 18  minutes  run- 
ning time,  16mm  sound.  The  picture  re- 
veals and  explains  the  construction  and 
principles  of  operation  of  the  modern 
steam  turbine,  employing  the  tea-kettle 
spout  and  paddle-wheel  for  illustrations. 
Animated  cross-section  drawings  demon- 
strate how  this  principle  is  used  to  power 
industry  and  ships. 

Applications  for  the  free  loan  of  this 
film  should  be  made  to  the  Public  Re- 
lations  Department  of  Allis-Chalmers. 


■  Bell  &  Howell  Company.  1801 
Larchmont  Ave.,  Chicago,  have  added  the 
following  Universal  feature  film  to  their 
Filmsound  Library : 

Saboteur — 1 1  reels — produced  by  Alfred 
Hitchcock,  and  starring  Priscilla  Lane  and 


Steam  from  the  spout  of 
a  tea-kettle  causing  a 
pinwheel  to  revolve  is 
used  to  illustrate  impulse 
force  as  it  occurs  within 
a  turbine  —  from  "The 
Magic  of  Steam." 


A  scene  from  "Saboteur" 

Robert  Cummings.  It  is  a  timely  story 
of  wartime  America,  dramatized  in  one 
man's  conflict  with  enemy  agents.  The 
hero,  a  young  aircraft  factory  worker, 
falsely  accused  of  sabotage,  tracks  down 
the   real   saboteurs. 

Hell  Below  Zero — 1  reel — is  another 
late  Bell  &  Howell  acquisition.  A  blind- 
ing snowstorm  in  equatorial  ."Mrica  is  one 
of  the  thrills  in  this  film,  narrated  and 
photographed  by  Carveth  Wells,  world 
famed   lecturer. 

■  Castle  Films.  Inc.,  30  Rockefeller 
Plaza,  New  York  City,  have  compiled 
another  reel  on  the  history  of  the  war, 
with   the  title: 

Italy  Surrenders — presenting  on-the- 
.spot  scenes  of  the  biggest  event  of  the 
war.  The  film  dramatically  portrays 
the  tremendous  aerial  blows  struck  at  the 
enemy's  rail  lines  and  air  fields,  inva- 
sion fleets  inMessina  Straits,  Montgom- 
ery's veteran  Eighth  Army  swarming  into 
the  Calabrian  area,  occupation  of  the  boot 
of  Italy  by  General  Mark  Clark's  .Ameri- 
can forces,  and  the  heart-felt  welcome 
given  by  Italian  crowds  to  the  invaders, 
treated  as  deliverers  rather  than  as 
enemies.  The  pictured  might  of  allied 
naval  craft  hammering  shore  positions 
with  devastating  salvos  tells  whv  Italv 
fell. 

■  United  States  Steel  Corporation. 
436  Seventh  Ave.,  Pittsburgh,  Pennsyl- 
vania, tells  the  complete  story  of  its 
wartime  expansion  program  and  pro- 
duction accomplishments  through  a  film 
entitled : 

To  Each  Other — featuring  the  actor, 
Walter  Brennan  as  a  veteran  steelmaker 
who  has  returned  to  his  job  for  the 
duration,  while  his  son  serves  in  the 
nation's  armed  forces.  Deriving  its  title 
and  theme  from  the  concluding  pledge  of 
the  Declaration  of  Independence.  "We 
mutually  pledge  to  each  other  our  lives, 
our  fortunes  and  our  sacred  honor,"  the 
picture  describes  the  war  production  ef- 
forts of  the  Corporation's  employees,  and 
the  new  construction  program  being  car- 
ried on  by  the  government  and  U.  S.  Steel 
{Concluded  on  page  319) 


October,   1 94 J 


Page   317 


FOUR  IDML  C'x.cUiiueUf,  %idUuted 

16mm  Sound  Features  Every  School  Should  Use 


Films  that  are  different! 


LITTLE  LORD  FAIINTLEROY 

starring  Freddie  Bartholomew  and  Dolores  Costello 
in  the  screen  version  of  Frances  Hodgson  Burnett's 
beloved  classic.  Guy  Kibbee,  Mickey  Rooney  and 
C.  Aubrey  Smith  also  contribute  notable  perform- 
ances. 

RODEO  RHYTHM 

Roy  Knapp's  famous  juvenile  rough-riders  in  a 
lively  action  story  featuring  daring  horsemanship 
by  these  youngsters. 

THE  jMAN  AT  THE  GATE 

starring  Wilfred  Lawson  of 

"Pastor  Hair  Fame 

A  stirring  and  beautiful  portrayal  of  the  influence 
of  Christian  faith  on  the  human  heart.  Notably  acted 
by  an  expert  cast  the  perfect  balance  of  the  spiritual 
with  the  material  has  resulted  in  a  fine  motion  pic- 
ture that  will  touch  and  inspire  all  who  see  it.  This 
feature  has  been  accorded  enthusiastic  endorsement 
by  school  and  church  officials  and  its  timely  and 
inspiring  story  deserves  telling  to  school  and  church 
audiences  throughout  the  country. 


Maxwell  Anderson's  famous  stage  play 

in  16mm  OISLY 

JOURNEY  TO  JERUSALEM 

An  actual  reproduction  on  film  of  the  New  York  stage 
presentation.  This  beautiful  and  dramatic  Biblical  master- 
piece is  based  on  a  passage  from  St.  Luke  which  tells 
of  a  Passover  Pilgrimage  to  Jerusalem  by  the  boy  Jesus 
and  his  family,  during  which  He  first  realizes  that  He  is 
to  become  the  Messiah. 


Major  Features  Not  Requiring  Approval  of  Contract 


DR.   CHRISTIAN  Series 

of  six  subjects,  starring  the  beloved  Jean  Hersholt. 
Guide,  philosopher  and  friend,  as  well  as  physician 
to  all  in  Rivers  End,  he  opposes  and  fights  all  that 
threatens  the  welfare  of  his  community.  Entertain- 
ingly combine  drama,  humor  and  romance.  Titles  are: 


MEET  DR.  CHRISTIAN 
COURAGEOUS  DOCTOR  CHRISTIAN 
DR.  CHRISTIAN  MEETS  THE  WOMEN 
MELODY  FOR  THREE 
THEY  MEET  AGAIN 
REMEDY  FOR  RICHES 

Series  of  three  subjects  starring  Guy  Kibbee  in  the 
title  role  of  the  genial,  resourceful  small-town  philos- 
opher, the  well-known  character  of  fiction  and  radio 
created  by  Clarence  Budington  Kelland.  Titles  are: 

SCATTERGOOD  BAINES 
SCATTERGOOD  PULLS  THE  STRINGS 
SCATTERGOOD  MEETS  BROADWAY 


Your  School  Enrollment  Determines  the  Rental  You  Will  Pay 

IDEAL  PICTURES  CORPORATION 


28  E.  8th  Str**t 
Chicago,  lliinoit 

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Dallas,  Taxas 


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Atlanta,  Georgia 


Write  today  to  our  nearest  ot/iee 

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Memphis,  Tennessee  Los  Angeles,  California  Denver,  Colorado 

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Portland,  Oregon  Miami,  Florida  Richmond,  Virginia 

or  Bertram  Willoughby  Pictures,  Inc.,  Suite  «00.  UOO  Broadwav,  New  Yorit,  N.  Y. 


Page  318 


The  Educational  Screen 


Rolling  tlie  pencil  between  Ihe  thumb  and 
fingers  as  it  is  drawn  along  the  straightedge 
will  produce  a  line  of  uniform  width; 


The  MICROMETER  and  the  VERNIER 
CALIPER  are  both  highly  accurate 
measuring  instruments.  The  common  ones 
measure  to  a  thousandth  of  an  inch.  Those 
measuring  to  a  tenth  of  a  thousandth  of  an 
inch  are  coming  more  and  more  into  use.  i , 


Teaching  Aids  lor  Mechanical 
Drawing  Classes 

To  meet  the  vital,  current  need 
for  the  swift  training  of  mechanical 
and  technical  draftsmen,  a  series  of 
18  reading  or  discussional  slide-films 
have  been  prepared  by  The  Jam  Handy 
Organization,  2900  E.  Grand  Boule- 
vard, Detroit,  titled  "Mechanical 
Drawing  and  Drafting."  The  material 
in  this  series  is  fundamental,  designed 
to  more  quickly  give  the  beginner  an 
understanding  of  basic  principles,  tools, 
simple  techniques  and  purposes. 
Selected  frames  from  these  subjects 
may  be  projected  on  the  blackboard 
and  traced  in  chalk  for  more  leisurely 
detailed  study  and  discussion  when  de- 
sired. 

In  many  instances  this  series  is  be- 
ing used  in  connection  with  actual 
practice  and  trial  in  the  classroom, 
each  student  being  supplied  with  draw- 
ing board,  tools  and  drawing  material 
involved  in  the  lesson.  In  this  way, 
the  screened  images  in  sequence  are 
used  as  the  basis  for  discussion  and 
for  the  class  to  follow  as  the  instructor 
projects  the  slidefilm  and  discusses 
the  steps  pictured,  each  completed 
cycle  or  action  then  being  performed 
by  all  the  class. 

Subjects  in  the  series  are:  Measure- 
ments and  Measuring  (2  parts),  Scales 
and  Models,  .Addition  and  Subtrac- 
tion in  Geometry,  Multiplication  and 
Division  in  Geometry,  Angular  Meas- 
urement, Construction,  "T"  Squares  and 
Triangles  (2  parts),  Geometric  Construc- 
tion (2  parts).  Drawing  an  Anchor  Plate, 
Layout  Work  (2  parts).  Slotted  .\nchor 
Plate,  Layout  Tools  and  Measuring 
Instruments,  Plotting  Graphs,  Analytic 
Geometry. 

A  total  of  1,112  individual  pictures 
is  presented  in  this  unit  composed  of 
photographs,  drawings,  charts,  dia- 
grams and  exhibits. 


c^moncj  ms  iJ\oduaEi± 


Animals  and  Birds  in  Kodachrome 

Colorcraft  Studios,  2174  N.  E.  Mult- 
nomah St.  Portland  12,  Oregon,  of- 
fers teachers,  nature  lovers  and 
lecturers  a  series  of  2"  x  2"  Koda- 
chrome slides  on  birds,  snakes  and 
animals,  photographed  by  William  L. 
and  Irene  Finley,  well-known  authors 
and  lecturers  who  have  spent  a  life- 
time studying  birds  and  animals  and 
whose  skilled  color  photography  of 
these  subjects  is  widely  recognized. 
Catalog  giving  full  particulars  will 
be  furnished  on  request  to  Colorcraft 
Studios. 

Filmatic  Triple-Purpose  Projector 

A  triple-purpose  Film  Slide  Pro- 
jector has  been  designed  by  the  Golde 
Manufacturing  Company,  1218  W. 
Madison  Street,  Chicago,  for  use  in 
war  training  and  industrial  education. 
The  machine  is  easily  operated  and 
permits  utilization  of  three  types  of 
still  projection  material :  2x2  Koda- 
chrome or  black-and-white  slides, 
single  frame  or  double  frame  35mm 
slide    films. 

An  outstanding  feature  of  the  pro- 
jector is  the  new  non-rewind  device 
which  eliminates  rewinding  after  show- 
ing. Other  features  include  instant  fram- 
ing and  adjustment,  motor-driven  forced 
air  cooling  system  which  protects  the 
material  against  heat  damage,  precision 
four-element  projection  lens  (5"  f:3:5), 
fast,  and  sharp  focusing,  Manumatic  slide 
carrier,  and  feed  capacity  up  to  300  single 
frame  pictures.  300,  200  and  100-watt 
lamps  can  be  used.  The  "Filmatic"  is 
compact  and  sturdy,  yet  easily  portable. 
It  is  available  on  priority  only. 

Radiant's  New  Catalog 

A  complete  new,  illustrated  screen 
catalog,  carrying  the  title  "In  Step  with 
the  Times,"  has  just  been  released  by 
the  Radiant  Manufacturing  Corp.,  1140 
W.  Superior  Street,  Chicago.  In  addition 
to  a  full  range  of  the  regular  Radiant 
screens,  the  new  line  of  non-metal 
screens  available  for  immediate  delivery 


without  priority,  is  announced  and  de- 
scribed. W.P.B.  has  granted  Radiant 
permission  to  release  a  limited  quantity 
of  Metal  Screens  for  essential  activities 
on  orders  up  to  $100. 

A  special  section  of  the  catalog  ex- 
plains two  new  plans  for  renovating  and 
repairing  old  screens  for  which  Radiant 
has  just  installed  a  new  department. 

DeVry  Earns  New  Award 

To  the  .\rmy-Navy  "E  for  Excel- 
lence" pennant  awarded  DeVry  Cor- 
poration, Chicago,  in  April  of  1943  has 
been  added  a  white  star  significant  of 
continued  excellence  in  the  production 
of  motion  pictures  and  equipment. 

In  extending  the  congratulations  of 
the  Navy  Department  on  their  accom- 
plishment "to  each  and  every  man  and 
woman  of  your  company,"  Admiral  C. 
C.  Bloch,  U.S.N.   (Ret.)  wrote: 

"The  men  and  women  of  the  .^rmi- 
tage  Avenue  and  Wolcott  Avenue 
Plants  of  the  DeVry  Corporation  have 
achieved  a  signal  honor  by  continuing 
their  splendid  production  in  such  vol- 
ume as  to  justify  this  renewal  of  their 
award. 

"In  the  first  instance  it  was  difficult 
to  win  the  Army-Navy  'E'  and  by 
meriting  a  renewal,  the  management 
and  employees  have  indicated  their 
solid  determination  and  ability  to  sup- 
port our  fighting  forces  by  supplying 
the  equipment  which  is  necessary  for 
ultimate   victory." 

Slidefilms  on  Industrial 
Health  and  Safety 

Three  new  sound  slide  films  are 
ofifered  by  R.  M.  McFarland  &  As- 
sociates, 520  N.  Michigan  .'\ venue,  Chi- 
cago. They  deal  with  "Absenteeism," 
"Defense  for  Children  of  Mothers 
Working  in  War  Industry,"  and 
"Safely  Yours,"  for  women  in  war 
industry. 

The  National  Safety  Council,  Inc., 
20  N.  Wacker  Drive,  Chicago,  has  in 
production  a  visual  course  of  safety  in- 
struction for  management,  consisting 
of  ten  slidefilms,  with  an  approximate 


A  shipment  of 
9'  X  12'  large  size 
metal  cover  Pro- 
jection Screens 
with  "Supreme" 
tripods  is  leaving 
Radiant's  Chi. 
cage  factory  for 
overseas. 


October,   1943 


Page  319 


running  time  of  two  minutes  each. 
Another  recent  series  of  four  sound 
film  strips  cover  "Farm  Safety."  Other 
National  Safety  Council  slide  films 
which  are  especially  important  in  con- 
nection with  our  war  production  pro- 
gram, are  the  following: 

"Safe  All  .Around" — how  war  work- 
ers can  avoid  accident  hazards  in  and 
about  the  home;  "No  Time  for  Goo- 
fers" — how  to  prevent  off-the-job 
traffic  accidents;  "Safely  We  Work" — 
designed  to  show  railroad  workers 
how  they  can  avoid  accidents  on  the 
job;  "Women  and  Machines" — part 
women  can  play  in  reducing  industrial 
accidents;  and  "Safety  for  Defense" — 


common  causes  of  industrial  accidents. 

The  Sound-Health-Service  slide 
films  produced  by  Commercial  Films, 
Inc.,  1800  East  30th  St.,  Cleveland, 
Ohio,  include  messages  on  the  sub- 
ject of  "Take  Care  of  Yourself,"  a 
general  health  film  addressed  to  all 
workers;  "The  Cold  Bug,"  a  film 
stressing  the  fact  that  250,000,000  lay- 
oflfs  each  year  in  industrial  plants 
of  America  are  due  to  common  colds; 
"Foods  Keeps  You  Fit,"  bringing  the 
subject  of  nutrition  down  to  the  ABC 
level;  one  on  mental  health,  "Stay  on 
the  Beam,"  and  "To  the  Women,"  de- 
signed to  improve  the  health  of  wo- 
men, and  cut  absenteeism. 


Motion  Pictures — Not  for  Theatres 

(Continued  from  page  297) 
the    Drama    Society    and    the    Mothers' 
Club. 

Saturday  morning,  since  the  days  when 
Mrs.  Elizabeth  Richey  Dessez  attracted 
the  attention  of  George  Kleine  by  her 
promotion  of  such  enterprises,  has  long 
been  rather  a  profitable  occasion  for  so- 
called  "children's  matinees."  Originally 
designed  as  programs  for  the  wholesome 
stimulation  of  juveniie  character  and 
mind,  they  now  consist  in  the  main  of 
comic  strip  excitements  in  over-liberal 
doses  and  with  little  evidence  of  studied 
arrangement.  To  check  the  further  re- 
generation of  the  constructive  idea,  ad- 
mirable work  has  been  and  is  being 
done  year  after  year  by  the  National 
Board  of  Review  of  Motion  Pictures 
from  its  headquarters  offices  in  New 
York,  long  under  supervision  of  the 
late  Wilton  Barrett,  e.xecutive  secre- 
tary. This  service,  of  course,  is  in  ad- 
dition to  the  Board's  basic  activity  of 
placing  its  seal  of  ajiproval  upon  the 
neWi  theatrical  films  which  meet  its 
liberal  standards,  and  which  are  sub- 
mitted voluntarily  by  the  producers  for 
the  purpose. 

It  was  inevitable  that  the  commercial 
advantages  of  Saturday  morning  mat- 
inees becoming  so  increasingly  apparent 
with  the  shortening  labor  week  and  ad- 
ded public  leisure,  should  stir  projects 
beyond  the  exploitation  of  mere  juvenile 
interest.  The  odd  enterprise  now  to  be 
mentioned  surely  will  not  be  the  last 
effort  in  its  peculiar  direction.  It  was 
organized  in  New  York  City  about  Jan- 
uary, 1933.  as  the  Womans'  Screen  Guild. 
The  backer  was  Sportsman  Brigham,  a 
wealthy  man  who  had  wished  to  play 
with  the  fascination  of  films.  The  idea 
was  to  use  theatres  in  the  mornings  to 
show  "women's  interest"  motion  pic- 
tures, mainly  "in  cooperation  with" 
national  advertisers.  Emily  Post,  the 
etiquette  authority,  was  general  super- 
visor. Frank  K.  Speidell,  then  recently 
of  Visugi«phic.  had  an  important  place 
in  production.  The  first  picture  was  be- 
gun in  the  Ideal  Studio,  in  Weehawken, 
New  Jersey,  atop  the  Palisades  across 
from  Manhattan.  It  was  nearly  com- 
pleted when  Brigham  suddenly  tired 
of  incidental  annoyances,  stopped  every- 
thing, threw  the  entire  project  into  re- 
ceivership    and     withdrew — about     only 


seven  months  from  the  date  of  incorpora- 
tion. 

Sponsored  Films 

Th.\t  aforesaid  rather  astonishing,  fan- 
tastic incident,  in  which  an  apparently 
large  enterprise  had  a  life  span  of  only 
winter  to  summer,  came  and  went  so 
quickly  that  few  persons  were  aware 
of  its  existence.  Yet,  in  it  may  have 
been  the  germ  of  the  idea  which  ulti- 
mately will  solve  that  moot  question 
concerning  advertising  films  in  theatres. 

From  time  to  time  in  these  pages  that 
subject  has  recurred  since  reference  was 
made  to  the  first  industrials,  and  the 
reader  may  have  observed  that,  resemb- 
ling the  discussion  of  non-theatrical  com- 
petition, it  waxes  and  wanes.  In  certain 
periods,  at  irregular  intervals,  ad  films 
in  theatres  have  been  prevalent ;  at  other 
times  they  have  been  sharply  curtailed, 
and  occasionally  have  been  almost  en- 
tirely driven  out.  The  determining  fac- 
tor has  been  tlie  temper  of  the  audience, 
whether  the  spectators  resented  them 
or  not.  At  bottom  of  the  system,  so  far 
as  exhibitors  and  advertisers  are  con- 
cerned, is  a  probability  that  the  spec- 
tators do  resent  them. 

(To  b*  Centlnued) 

Current  Film  News 

(Concluded  from  paye  316) 
to  increase  production  of  steel  for  the 
armed  forces.  Many  new  important  plants 
and  manufacturing  scenes  are  pictured. 
There  are  views  of  the  construction  of 
naval  auxiliary  vessels,  tank  landing  craft, 
cargo  ships  and  destroyers,  introduced  by 
Brennan  in  his  role  of  veteran  steel- 
maker. He  also  tells  about  the  intensi- 
fied training  program  for  new  employees 
carried  on  by  U.  S.  Steel  to  aid  in  solv- 
ing the  manpower  problem. 
■  Nu-Art  Films,  Inc.,  145  W.  45th 
St.,  New  York  City,  announce  two  new 
patriotic  releases  in  16mm  sound : 

Old  Flag — 1  reel — a  dramatic  narra- 
tion dedicated  to  the  Flag  of  the  United 
States,  with  appropriate  historical  views 
interpreting  its  outstanding  significance 
to  all   .Americans. 

Let  Freedom  Ring — 1  reel— a  dramatic 
presentation  of  the  American  Bill  of 
Rights  with  familiar  scenes  taken  from 
American   history  and  everyday  life. 


■  Father  Hubbard  Educational  Films, 
188  W.  Randolph  St.,  Chicago,  report 
several  new  films  which  portray  our 
armed  forces  and  industry  at  war.  At 
present  Father  Hubbard  is  cooperating 
with  the  United  States  .Armed  Forces 
in  morale,  recreational  and  intelligence 
work  in  Alaska.  Some  inspiring  trailers 
on  the  army,  navy  and  war  industries 
are  available  now.  Below  are  three  ex- 
amples of  the  subjects  treated  in  the 
newest  films,  each  in  one  reel : 

Courageous  Australia — the  home  of 
many  American  fighting  men  today — 
reveals  little-known  facts  about  its 
activities  and  the  beauty  of  this  smallest 
of  continents. 

Guardians  of  the  Sea — the  United 
States  Coast  Guard  in  action,  pro- 
tecting the  seas.  Spectacular  and  heroic 
rescues   are  portrayed. 

Men  of  West  Point — showing  the  in- 
tensive and  constructive  training 
which  men  receive  at  this  institution. 
General  Douglas  MacArthur  gives  the 
Graduation   Address. 

■  Post  Pictures  Corporation,  723 
Seventh  .Avenue,  New  York  City,  has 
added  two  more  Hal  Roach  features  to  its 
growing  list  of  16mm  sound  film  releases. 
They  are : 

Captain  Caution,  with  \'ictor  Ma- 
ture, Leo  Carillo  and  Bruce  Cabot — an 
action-filled  adventure  production  film- 
ed from  the  novel  by  Kenneth  Roberts, 
which  enfolds  against  the  background 
of  the  War  of  1812,  when  many  excit- 
ing battles  were  fought  bitterly  on  the 
open  seas. 

Saps  at  Sea —  a  laugh-filled  comedy 
featuring  Stan  Laurel  and  Oliver 
Hardy,  which  begins  with  dafty  doings 
in  a  horn-manufacturing  plant  and 
then  shifts  to  a  nautical  background 
with  the  two  embarked  on  a  hilarious 
sea   voyage. 

■  British  Information  Services,  360 
North  Michigan  .Ave.,  report  the  avail- 
ability of  a  new  16mm  sound  film,  en- 
titled : 

ABCA — IS  minutes  running  time.  The 
initials  stand  for  "The  -Army  of  Current 
Affairs"  which  was  started  as  an  experi- 
ment in  1941  and  has  since  become  an 
integral  part  of  the  training  of  everj- 
British  soldier.  The  film  tells  why  and 
how  ABCA  began,  shows  some  of  the 
weekly  meetings  in  full  swing,  and  the 
topics  discussed — which  are  in  one  of  two 
categories,  either  War,  i.e.,  general  mili. 
tary  intelligence  from  the  theatres  of  op- 
eration, or  Current  Events,  which  can 
vary  from  why  Britain  is  at  war  with 
Germany  to  a  discussion  of  "The  Bever- 
idge  Report"  or  "The  Chungking  Angle." 
It  reveals  the  training  given  the  officers 
who  conduct  the  talks,  with  emphasis  on 
their  function  as  chairman  and  not  lec- 
turer. 

The  film  can  be  obtained  for  showing 
at  a  nominal  service  charge,  from  the 
offices  of  British  Information  Services  in 
Chicago,  Los  Angeles,  New  York,  San 
Francisco,  Washington,  or  any  British 
Consulate. 


Page   320 


The  Educational  Screen 


TJTXJTT'     TT'TJTI'^'l^       II  DF  a  Trade  Directory 

rXCjXVU       X  XIXjI   X       XIlXvU  for  the  visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425   Williams  St.,   Denver.  Colo. 

Bailey  Film  Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815   Larclimont  -Ave.,  Chicago.   111. 
(See  advertisement  on  page  277) 

Better  Films  (2) 

742A  New  Lots  Ave.,  Brooklyn,  N.Y. 

(See  advertisement  on  page  312) 

Brandon  Films  (3) 

1600  Broadway.  New  York,  N.  Y. 

(See  advertisement  on  page  306) 

Bray  Pictures  Corp.  (3,  6) 

729  Seventh  Ave..  New  York,  N.  Y. 

(See  advertisement  on  page  308) 

Castle  Films  (2,  5) 

RCA  Bldg..  New  York.  N.  Y. 

(See  advertisement  on  page  283) 

Central  Education  Association  (1) 

123  S.  Washington  St., 
Green  Bay,  Wis. 

College  Film  Center  (3,  5) 

84  E.  Randolph  St..  Chicago,   111. 

Creative  Educational  Society  (1) 

4th  Fl.,  Coughlan  Bldg. 
Mankato.  Minn. 

DeVry  School  Films  (3) 

1111  Armitage  Ave.,  Chicago,  111. 

(See  advertisement  on  page  278) 

Eastman  Kodak  Co.  (3) 

Teaching  Films   Division 
Rochester,  N.  Y. 

(See  advertisement  on  page  311 

Eastman  Kodak  Stores,  Inc.  (3) 

Eastman  Classroom  Films 
356  Madison  .'Kve.,  New  York,  N.Y. 

Erpi  Classroom  Films,  Inc.  (2,  5) 

1841   Broadway.  New  York,  N.  Y. 
(See  advertisement  on  page  308) 

Films.  Inc.  (3) 

330  W.  42rnd  St..  New  York,  N.  Y. 

64  E.  Lake  St..  Chicago 

314  S.  W.  Ninth  Ave.,  Portland,  Ore. 

General  Films,  Ltd.  (3   6) 

1924  Rose  St..  Rcgina,  Sask. 
156  King  St.  W.  Toronto 

Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  45th  St..  New  York,  N.  Y. 

(See  advertisement  on  page  313) 

Hoffberg  Productions,  Inc.  (2.  S) 

618-20  Ninth  Ave.,  New  York,  N.  Y. 

Ideal  Pictures  Corp.  (3    6) 

28  E.  Eighth  St..  Chicago,  111. 

(See  advertisement  on  page  317) 

Knowledge  Builders  Classroom  Films 

625  Madison,  New  York,  N.  Y.  (2,  S) 

National  Film  Service  (2) 

14  Glenwood  Ave..  Raleigh.  N.  C. 
309  E.  Main  St.,  Richmond,  Va. 

Post  Pictures  Corp.  (3) 

723  Seventh  Ave.,  New  York.  N.  Y. 
(See  advertisement  on  page  315) 

The  Princeton  Film  Center  (2) 

106  Stockton  St..  Princeton,  N.  J. 

Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd.,  St.  Louis,  Mo. 

(See  advertisement  on  page  306) 


Visual  Education  Incorporated  (3) 

12th  at  Lamar,  Austin,  Tex. 

Vocational  Guidance  Films,  Inc.       (2) 

2718  Beaver  Ave..  Des  Moines.  la. 

Westinghouse  Electric  &  Mfg.  Co.  (2, 5) 

306  Fourth  .Ave..  Pittsburgh,  Pa. 

(See  advertisement  on  page  280) 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

Y.M.C.A.  Motion  Picture  Bureau     (3) 

347  Madison  Ave..  New  York.  N.Y. 
19  S.  LaSalle  St..  Chicago 
351   Turk  St..  San  Francisco.  Cal. 
1700  Patterson   Ave..   Dallas.  Tex. 


MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (3) 

2839  N.  Western  Ave..  Chicago.  111. 

(See  advertisement  on  inside  front  cover) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago.   111. 
(See  adverti.sement  on  page  277) 

Central  Education  Association  (1) 

123  S.  Washington  St.. 
Green    Bay,   Wis. 

DeVry  Corporation  (3,  6) 

1111   Armitage  Ave.,  Chicago.  111. 
(See  advertisement  on  page  278) 

Eastman  Kodak  Stores,  Inc.  (3) 

Kodascope  Libraries 

356  Madison  Ave..  New  York.  N.  Y. 

General  Films,   Ltd.  (3,   6) 

1924  Rose  St.,  Regina,  Sask. 
156  King  St..  W.  Toronto 

Holmes  Projector  Co.  (3.  6) 

1813  Orchard  St..  Chicago,  III. 

(See  advertisement  on  pa?e  315) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago.  111. 

(See  advertisement  on  page  317) 

RCA  Manufacturinar  Co.,  Inc.  (2) 

Educational   Dept..  Camden.  N.  J. 
(See  advertisement  on  page  284) 

S.  O.  S.  Cinema  Supply  Corp.        (3   6) 

449  W.  42nd  St..  New  York,  N.  Y. 

Victor  Animatograph  Corp.  (3) 

Davenport  Iowa 

(See  advertisement  on  page  301) 

Visual  Education  Incorporated         (3) 

12th  at  Lamar,  Austin,  Tex. 

Williams  Brown  and  Earle,  Inc.  (3  6) 

918  Chestnut  St.,  Philadelphia.  Pa. 


SCREENS 

Radiant  Mfg.  Company 

1144  W.  Superior  St., 
Chicago  22.  111. 

(See  advertisement  on  page  281) 

National  Film  Service 

14  Glenwood  Ave.,  Raleigh,  N.  C. 
309  E.  Main  St.,  Richmond,  Va. 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St.,  Chicago,  111. 

(See  advertisement  on  outside  back  cover) 

The  Stanley  Bowmar  Co. 

2929  Broadway,  New  York  25,  N.  Y. 

Williams,  Brown  and  Earle,  Inc. 

918   Chestnut   St..   Philadelphia,   Pa. 


SLIDEFILMS 

Society  for  Visual  Education,  Inc. 

100  E.  Oliio  St.,  Chicago.  111. 

tSee  advertisempnt  on  outside  back  cover 
and    page    305) 

The  Jam  Handy  Organization 

2900  E.  Grand  Blvd..  Detroit.   Mich. 
(See  advertisement  on  page  307) 

The  Stanley  Bowmar  Co. 

2929  Broadway.  New  York  25,  N.  Y. 
Visual  Sciences 

Suffern.   New  York 

I  Sec  advertisement  on  page  312) 

Williams,  Brown  and  Earle    Inc. 

918   Chc.^-tnut   St..   Philadehihia,   Pa. 

SLIDES  (EODACHROME  2x2) 

Colorcraft  Studios 

2174    N.    E.    Multnomah, 
Portland   12.   Ore. 

(See  advertisement  on  page  312) 

Klein  &  Goodman 

18  S.  10th  St.,  Philadelphia,  Pa. 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago.  111. 

\  See  advertisement  on  outside  back  cover) 

The  Stanley  Bowmar  Co. 

2929  Broadway,  New  York  25,  N.  Y. 

SLIDES  (STANDARD  3>/4  x  4) 

Ideal  Pictures  Corp. 

28  E.   Eighth  St..  Chicago,   111. 

(See  advertisement  on  page  317) 

Keystone  View  Co. 

Meadville.  Pa. 

(See  advertisement  on  page  303) 

Radio-Mat  Slide  Co.   Inc. 

222  Oakridge   Blvd. 
Daytona  Beach,  Fla. 

(See  advertisement  on  page  312) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,  N  .Y. 

(See  advertisement  on   inside  back   cover) 

DeVry  Corporation 

1111  Armitage  Ave..  Chicago,  111. 

(See  advertisement  on  page  278) 

General  Films  Ltd. 

1924  Rose  St.,  Regina.  Sask. 
156  King  St.,  W.  Toronto 
Golde  Manufacturing  Co. 

1220  W.  Madison  St.,  Chicago.  111. 

(See  advertisement  on  page  309) 

Keystone  View  Co. 

Meadville.  Pa. 

(See  advertisement  on  page  303) 

Society  for  Visual  Education  Inc. 

100  E.  Ohio  St..  Chicago.  111. 

(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St..  Buffalo,  N.  Y. 

(See  advertisement  on  page  282) 

Williams    Brown  and  Earle.  Inc. 

918  Chestnut  St.,   Philadehihia.  Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 

ISmm 

silent. 

(2) 

indicates 

16min 

sound. 

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(3) 

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<5) 

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35mm 

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(6) 

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and 

Continuous  insertions  under  one  heading,  $2.00  per  issue;  additional  listings  under  other  headings,  $1.00  each. 


Public  Library 


EDUe&TIONAL 


GAZINE    DEVOTED   TO    AUDIO-VISUAL  AIDS   IN    EDUCATION 


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NOVEMBER.     1943 


when  training  with 
SIGHT,  SOUND,  SEQUENCE 

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impressions  inadequate,  leaves  only  shallow  grooves  in 
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Our  Nation's  Victories  on  all  Fronts  testify  to  this  better, 
faster  way  of  training  millions  in  our  Military  Forces — and 
millions  more  in  our  factories.  Likewise,  16mm  Sound 
Motion  Pictures  herald  a  new  era  of  education,  training 
and  progress  in  post-war  years. 

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a  "must"!  So  own  it  today!  Show  it  to  your 
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Page  322 


The  Educational  Screen 


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DeVRY 


[he  modern  miracle  of  Visual  Education — given  full 
leash  by  the  speed-up  demands  of  War — had  its  begin- 
nings in  1912  in  a  "suitcase  projector"  that  was  destined  to 
take  motion  pictures  out  or  the  theater  into  the  meeting 
places  and  classrooms  of  the  world. 

For  three  decades  Dr.  Herman  A.  DeVry  —  the  man 
who  conceived  the  IDEA  of  PROJECTOR  PORTABIL- 
ITY—  made  a  succession  of  engineering  contributions  to 
the  progress  of  Visual  Education  that  won  him  a  place  with 
Thomas  A.  Edison  and  George  Eastman  on  the  Honor 
Roll  of  the  Society  of  Motion  Picture  Engineers. 

Today's  mass  produaion  and  fighter  film-training  pro- 
grams were  presaged  by  his  1914  pioneering  of  a  school 
library  of  86  motion  pictures  on  major  subjects  of  the 
school  curriculum — complete  with  teacher  study  guides. 
In  1925  he  established  the  DeVry  School  of  Visual  Edu- 
cation, which  developed  into  the  National  Conference  on 
Visual  Education — the  largest  organized  force  in  the  vis- 
ual field  dedicated  to  the  furthering  and  perfeaing  of 
"learn-by-seeing"  techniques.  Also  in  1925  he  founded 
DeForest's  Training,  Inc.,  to  teach  Elearonics  with  the  aid 
of  motion  pictures. 

Dr.  DeVry  would  have  been  67  years  of  age  on  No- 
vember 26th.  For  the  company  that  bears  his  name,  1943 
is  the  30th  anniversary  of  its  founding.  Over  its  plants 
flies  the  coveted  Army-Navy  "E"  with  Star — designating 
continued  excellence  in  the  production  of  motion  picture 
sound  equipment- — another  "first"  for  DEVRY — -another 
tribute  to  the  vision,  determination  and  integrity  of  its 
founder — whose  inherent  modesty  would  disclaim  the 
oft'  heard  tribute,  "Father  of  Visual  Education. " 


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The  EDUCATIONAL  SCREEN 


THE  EDUCATIONAL  SCREEN 
Staff 

Nelson  L.  Greene,  -  -  -  Editor-in-Chief 
Evelyn  J.  Baker  -  Advertising  Manager 
Josephine  Hoffman     -    -    Office  Manager 

Department    Editors 

John  E.  Dugan  -  Haddon  Heights,  N.  J. 
Donald  A.  Eldridge  -  Middletown,  Conn. 
Hardy  R.  Finch     -    -    Greenwich,  Conn. 

Ann  Gale Chicago,  111. 

David  Goodman  -  -  New  York,  N.  Y. 
Josephine  Hoffman  -  -  -  Chicago,  111. 
L.  C.  Larson  -  -  -  Bloomington,  Ind. 
F.  Dean  McClusky  -  Scarborough.  N.  Y. 
Etta  Schneider  Ress    -    New  York,  N.  Y. 

Editorial  AdTiaory  Board 

Ward  C.  Bowen,  Chief,  Bureau  of  Radio 
and  Visual  Aids,  State  Education  De- 
partment, Albany,  N.  Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools,  San  Diego, 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  E.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division,  Uni- 
versity of  Wisconsin,  Madison,  Wis. 

James  S.  Kinder,  Director  PCW  Film 
Service,  Pennsylvania  College  for 
Women,  Pittsburgh,  Pa. 

Boyd  B.  Rakestraw,  Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia, Berkeley,  Calif. 

Paul  C.  Reed,  U.  S.  Office  of  Education, 
Washington,   D.  C. 

Maj.  W.  Gayle  Starnes,  Chief,  Training 
Division,  Signal  Corps  Depot,  Lexing- 
ton, Ky. 

Lelia  Trolinger,  Secretary,  Bureau  of 
Visual  Instruction,  Extension  Division, 
University  of  Colorado,  Boulder,  Colo. 

W.  W.  Whittinghill,  Director  of  Trans- 
portation, Board  of  Education,  Detroit, 
Mich. 

SUBSCRIPTION  PRICE 

Doin*$f!c  $2.00 

Canada  $2.50 

Foraign    _ $3.00 

Sinqla  Copiat J5 


VOLUME  XXII 


NOVEMBER,   1943 


NUMBER  NINE 
WHOLE  NUMBER  216 


Contents 

Cover  Picture — Regimental  Review,  SPAR  Training  Station, 
Biltmore  Hotel,  Palm  Beach,  Fia.^(u.  S.  Coast  Guard  Photo) 

Motion  Pictures  Go  to  War. Nicholas  W.  Williams     329 

Visual  Instruction  in  Elementary  Schools Lelia  Trolinger     331 

Film  Forums — An  Adventure  in  Adult  Education — Miriam  Putnam     334 

The  Film  and  International 

Understanding John  E.  Dugan,  Editor     337 

Motion  Pictures — Not  for  Theatres Arthur  Edwin  Krows     338 

The  Literature  in  Visual  Instruction 

A  Monthly  Digest.. Etta  Schneider  Ress,   Editor     341 

School-Made  Motion   Pictures Hardy   R.   Finch,   Editor     344 

Experimental  Research  in  Audio- Visual 

Education David    Goodman,    Editor     348 

New  Films  of  the  Month L.  C.  Larson,  Editor  350 

News  and  Notes Josephine  Hoffman,  Editor  354 

Current  Film  News 358 

Among  the  Producers 360 

Here  They  Arel  A  Trade  Directory  for  the  Visual  Field 364 

(Contents  of  previous  Issues  listed  in  Education  Index) 


Tha  EDUCATIONAL  SCREEN  publiihed  monthly  axcapt  July  and  Augutt  by  Tha 
Educational  Scraan,  Inc.     Publication  Offica,  Pontiae,  IllinoU;  Exacutiva  Offica,  64 
East  Laka  St.,  Chicago,  Illinois.     Entarad  at  tha  Post  Offica  at  Pontiae,  Illinois,  as 
Sacond  Class  Mattar. 
Addrats  communications  to  Tha  Educational  Scraan,  64  East  Laka  St.,  Chicago,  III. 


Page  324 


The  Educational  Screen 


;• 


RADIANT  METAL  SCREENS 


\\\vi  //// 


Under  the  new  WPB  order  No.  L-267, 
educational  institutions  are  listed  among 
those  who  may  now  obtain  Radiant 
Metal  Projection  Screens  and  Metal  Tri- 
pods. This  may  be  done  by  simply  filing 
application  for  release  on  form  WPB 
1319  with  the  War  Production  Board 
Consumer  Durable  Goods  Branch,  Wash- 
ington 25,  D.  C.  Reference  L-267.  This 
new  procedure  eliminates  any  other 
forms.  Production  under  this  new  order 
is  very  limited  so  prompt  action  is  urged. 
Form  1318  can  be  obtained  from  your 
Radiant  Screen  dealer  or  direct  from  us. 


MANY  EXCLUSIVE  RADIANT  FEATURES 

The  Radiant  Metal  Screens  available  under  this  latest 
WPB  order  incorporate  all  the  features  that  have  made 
Radiant  so  popular  with  thousands  of  schools  from 
coast  to  coast — including  the  new  Instant  Tripod  Re- 
lease, the  Auto  Lock  that  does  away  with  screws  and 
plungers  and  the  Hy-Flect  Glass  Beaded  Screen  that 
brings  extra  depth,  color  and  brilliance  to  all  pro- 
jected pictures.  These  screens  include  Portable,  Wall 
and  Ceiling  Models,  as  well. 

Non-Priority  Screens  Also  Available  .  . . 
Here's  good  news! — Despite  Radiant's  concentration 
on  screens  for  the  war  effort  a  complete  line  of  sturdy, 
non-metal  durable  models  in  sizes  from  18"  x  24"  to 
14'  X  14'  and  larger  is  now  available  without  applica- 
tion for  educational  institutions.  Radiant  Catalog  gives 
full  details  and  prices. 

Send  for  the  Latest 
RADIANT  SCREEN  CATALOG 

The  new  Radiant  Illustrated  Screen  Cata- 
log gives  full  details,  specifications  and 
prices  on  Radiant  Screens  of  all  types 
and  for  all  purposes.  Also  contains  com- 
plete information  on  a  new  plan  for 
renovating  and  repairing  old,  discolored  and 
faded  screens  at  small  cost.  Send  coupon 
today. 


RADIANT 

BETTER  SCREENS  FOR  BETTER  PROJECTION. 


The  Radiant  Mfg.  Corp. 
1168  W.  Superior  St.,  Chicago  22,  III. 
n  Send   me   form    1319   and  complete   information 
on   WPB  order  L-267. 

D  Please   send   me   FREE   copy   of  the  new   com- 
plete,  illustrated  Radiant  Screen  Catalog. 


I 


Name.. 


Address.. 

aty 


.  state.. 


I 
.J 


November,  1943 


Page  325 


Photo  courtesy  U.S.  Merchant  Marine  Ca^^.  Lu^u  J)»..-.».,  :>»..  ..:-;t£-,  Calijoruia, 
Spencer  Model  VA  Delineascope  for  lantern  slide  and  opaque  projection. 


To  Man  the  Convoys 


Merchant  ships  — of  critical  impor- 
tance in  the  logistics  of  war  — must  be 
competently  manned  to  supply  the  far- 
flung  war  fronts  of  the  United  Nations 
with  adequate  tonnages  of  food,  guns, 
tanks,  planes  and  fuel.  More  than  1200 
major  ships  and  50,000  men  of  the  U.  S. 
Merchant  Marine  are  carrying  on  a  task 
which  has  contributed  mightily  to  the 
successes  we  are  now  achieving. 

Each  week,  each  month,  sees  more 
ships   sliding  down   the  ways.    More 


men— thousands  of  them  —  must  be  re- 
cruited and  trained  .  .  .  quickly. 

The  visual  methods  pioneered  in  the 
schools  and  colleges  of  the  country  arc 
playing  an  important  part  in  expediting 
this  training. 


Spenceri 

1  BUFFALO.  I 


LENS  COMPANY 
BUFFALO,  NEW  YORK 
SCIENTIFIC  INSTRUMENT  DIVISION  OF 

AMERICAN  OPTICAL  COMPANY 


, 


Page  326 


The  Educational  Screen 


Complete  Outfit  for  making 
Handmade  Lantern  Slides, 
and  typical  slides. 


Mandmade  LANTERN    SLIDES 

to  war! 


For  fifteen  years  the  Keystone  View  Com- 
pany has  been  developing  and  perfecting 
superior  materials  for  the  making  of 
Handmade  hanterti  Slides.  We  have  pro- 
ceeded on  the  assumption  that  only  the 
most  attractive  and  projectable  Handmade 
Lantern  Slides  are  of  real  service  to  the 
instructor  who  feels  the  necessity  of  mak- 
ing clear,  subject  matter  that  cannot  be 
made  clear  in  any  other  manner,  or  in 
saving  time. 

Both  in  the  armed 
forces  and  on  the 
home  front  Hand- 
made Lantern  Slides 
arc  playing  a  large 


part  in  efficient  instruction — 

(1)  By  making  clear  subject  matter  that 
would  not  otherwise  be  clear. 

(2)  By  saving  time. 

Typewritten  Slides  for  the  Presentation 

of  text  — 
Etched  Glass  Slides  for  the  Presentation 
of  Drawings,  Graphs,  and  Rough  Pic- 
torial Representations  — 

are  always  available 
for  use  in  situations 
that  cannot  other- 
wise be  met  in  such 
an  inexpensive  and 
such  an  extempo- 
rary manner. 


Handmade  Lantern  Slide  materials  may  be  purchased  without  priority. 

KEYSTONE  VIEW  COMPANY 

Meadville,  Pa. 


November,   1 943 


Page  327 


BUY  MORE  WAR  BONDS 


AFTER  victory  is  won  we  will  be  living  in  a  new 
i-  world — a  world  vastly  changed  by  years  of  war 
— a  world  so  shrunken  by  radio  and  the  airplane  that 
we  Americans  will  be  neighbors  with  the  most  dis- 
tant parts  of  the  earth — a  world  in  which  the  respon- 
sibilities of  our  educational  system  will  be  far  greater 
than  ever  before.  Indeed.  America's  schools,  along 
with  America's  adult  population,  must  be  ready  to 
meet  the  increased  responsibilities  of  citizenship  in 
this  new  world  if  a  permanent  peace  is  to  be  main- 
tained. 

It's  a  big  assignment,  but  America's  schools  will 
handle  it.  Progress-minded  school  administrators, 
school-board  members,  teachers  and  architects  are 
planning  now  for  this  critically  important  post-war 
era  in  education.  Their  planning  involves  improve- 


P 


ments  in  curriculum  and  teaching  methods  —  in 
school  buildings  and  equipment — and  in  the  con- 
struction of  new  schools,  built  to  accommodate  mod- 
ern equipment. 

*  *  * 

RCA  has  prepared  a  booklet  to  help  all  those  who 
are  interested  in  "planning  tomorrow's  schools." 
School  administrators  and  others  desiring  more  spe- 
cific details  concerning  school  building  construction 
or  renovation  should  consult  their  architects  and 
electrical  contractors.  Additional  information  may 
also  be  secured  by  writing  to  the  Educational  Depart- 
ment, RCA  Victor  Division,  Radio  Corporation  of 
America,  Camden,  New  Jersey. 

For  your  copy  of  the  booklet  just  use  the  handy 
coupon  below. 


w 


1 


RCA  Victor  Division— Educctional  Department 

RADIO  CORPORATION  OF  AMERICA 

Camden,  N.  J. 


The  Educational  Department.  RCA  Victor  Division 

Radio  Corporation  of  America,  Camden,  N.  J. 

Gentlemen: 

Please  send  me  a  copy  of  your  new  book  "Planning 

Tomorrow's  Schools.''  Thank  yon. 


Name 

School  and  Title 
City 


State 


Page  328 


The  Educational  Screen 


The  Life  of  ROBERT  BURNS 


A  vivid  screen  presentation  of  the  life  of 
the  great  Scottish  bard  is  now  available 
to  every  school  through  the  7-reel 
l6mm  Sound  Film 

"AIJLD  LANG   SYME'' 


This  is  a  beautiful  and  dramatic  film  vividly  reflect- 
ing the  life  and  times  of  this  great  poetic  genius.  The 
circumstances  under  which  Burns  wrote  many  of  his 
great  poems  are  tellingly  portrayed,  and  at  appropri- 
ate moments  in  the  dramatic  action  these  are  recited 
or  sung.  Andrew  Cruikshank  is  highly  effeaive 
and  convincing  in  the  title  role  .  .  .  Recommended 
for  classes  in  literature  and  history,  as  well  as  for 
the  general  assembly  program. 

Special  rental  rate  to  schools — $10.00 


Available  from 


IDEAL  PICTURES  CORPORATION 


28  E.  Eiqhth  St. 
Chicago,  III. 

18  S.  Third  St. 
Mamphis,  T«nn. 


Reliance  BIdg..  926  McGee  St.  2408  W.  7th  St. 

Kansas  City,  Kansas  Los  Angeles,  Col. 

1739  Oneida  St.  915  South  West  10th  St. 

Denver,  Colo.  Portland,  Oregon 


89  Cone  St.,  N.W. 
Atlanta,  Georgia 

9536  N.  E.  2nd  Ave. 
Miami,  Florida 


2024  Main  St. 
Dallas,  Texas 

210  E.  Franklin 
Richmond,  Ya. 


and  Bertram  Willoughby  Pictures,  Inc.,  Suite  600,  1600  Broadway,  New  York,  N.  Y. 


November,   1943 


Page   329 


Motion  Pictures  Go  to  War 


NICHOLAS    W.    WILLIAMS 

Training  Division,  Lexington  Signal  Depot 
Lexington,  Kentucky 

IX  the  preface  to,  a  booklet  entitled  "The  War  in 
Outline,"  prepared  by  the  Special  Service  Division. 
Army  of  the  United  States,  General  George  C.  Mar- 
shall states  very  forthrightly  that  a  knowledge  of  the 
causes  and  events  leading  up  to  the  present  war  and 
of  the  principles  for  which  we  are  fighting  "is  an  indis- 
pensable part  of  military  training  and  merits  the 
thoughtful  consideration  of  every   American   soldier." 

At  the  United  States  .Army's  Le.xiiigton  Signal  De- 
pot, Colonel  Laurence  Watts,  Conunanding  Officer, 
has  encouraged  the  use  .of  motion  pictures.  To  the 
ca.sual  observer  a  film  is  a  "picture  show,"  a  "movie." 
Educationally  and  semantically.  to  the  uninitiated, 
these  latter  terms  may  be  meaningful  but  without 
proper  meaning.  Nearly  every  army  post  does  have 
"movies,"  entertainment  films  which  are  important 
recrcationally.  Tlie  Lexington  Signal  Depot  is  no  ex- 
ception. Regular  feature  entertainment  pictures  an<l 
short  subjects  are  shown  to  the  military  personnel  at 
the  reservation  during  off-work  hours.  The  impor- 
tance of  relaxation  in  the  war  of  survival,  the  war  of 
nerves,  is  not  overlooked  bv  a  farsighted  Commanding 
Officer. 

An  entertainment  motion  picture  is  only  one  of  sev- 
eral types  used  by  the  Army.  .Anotlier  type  might  be 
labeled  "informational."  The  tliird  cla.ss  of  motion 
pictures,  of  which  there  is  a  predominance  used  b\- 
the  armed  forces,  is  the  training  film  which  is  used  as 
an  aid  to  teadiing,  whether  it  be  designed  to  give  cor- 
rect instruction  on  how  pro])er]y  to  administer  splints 
on  the  battlefield,  how  to  safeguard  military  informa- 
tion, or  how  effectively  to  combat  tank  warfare. 

When  General  Marshall  pointed  out  the  necessity 
fur  informing  a  .soldier  of  "why  we  fight,"  the  dra- 
matic medium  of  the  motion  picture  was  not  over- 
looked. From  the  Adjutant  General's  office,  Wash- 
ington, D.  C,  came  the  announcement  of  the  -Special 
.Service  information  films,  seven  in  number,  to  be  sup- 
plemented by  lectures  and  discussion  periods  on  "The 
War  in  Outline."  These  seven  films  are  a  "must  see" 
for  all  United  States  .\rmy  personnel. 

The  first  of  the  seven  films  in  the  Orientation  Series 
is  called  Prelude  to  War.  This  film,  and  two  others 
of  the  series,  has  already  been  shown  at  LSD.  Prelude 
to  IVar  rfeals  with  the  rise  of  the  Axis  powers  and  their 
challenge  to  America.  It  was  released  to  the  public 
on  May  27 ;  it  has  already  caused  nationwide  comment 
by  those  who,  like  Dorothy  Thompson,  have  previewed 
it. 

A  recent  sample  poll  of  theatre  managers  indicated 
that  the  public  is  tired  of  war  pictures.  No  doubt  the 
public  is  tired  of  Hollywood's  conception  of  war.  with 
all  its  usual  stereotyped  plots,  but  America  continues 
very  avidly  to  read  Ernie  Pyle  and  Henry  McLemore, 
who  observe  the  human  side  of  the  war ;  America 
listens  to  its  radio  with  great  anxiety  or  hope  as  the 


A  fine  example  oi  intelligent  utilization  of 
various  types  of  films  at  an  Aimy  post,  and 
the  functions  of  each  in  the  war  program. 


Two  scenes  from  "Prelude  to  War."    (Produced  by  Special 
Service  Division,  War  Department.  Released  through  OWI.) 

case  may  be ;  when  the  President  speaks,  he  is  heard. 
When  the  army  released  Prelude  to  War  to  the  Ameri- 
can public  through  the  film  industry,  it  saw  and  heard 
perhaps  as  it  has  never  seen  and  heard  before. 

Military  and  civilian  personnel  at  Avon,  and  at  many 
other  military  stations  throughout  the  United  States, 
have  seen  Prelude  to  War.  All  but  comparatively 
little  footage  of  the  fifty-minute  motion  picture  is  au- 
thentic. Produced  by  Frank  Capra,  the  film  is  very 
carefully  edited  so  as  to  create  a  singleness  of  impres- 
sion :  it  is  composed  of  shots  from  news  reels,  shots 
from  captured  Axis  motion  pictures.  No  Edgar 
Allen  Poe  short  story  could  be  more  dramatically  con- 
-structed.  There  are  no  Hollywood  villains  in  Prelude 
to  War ;  the  characters  are  our  enemies,  singly,  in  the 
forms  of  such  as  Hitler,  Hirohito,  and  Mussolini; 
collectively,  in  the  people  who  represent  our  antago- 
nists.    The  least  educated  can  understand  the  simple 


Page   330 


The  Educational  Screen 


From  the  film  "Next  of  Kin"  (A  Universal  release.) 

truth  portrayed  in  Prelude  to  War — that  Axis  world 
conquests  could  not  continue  if  the  democratic  way  of 
the  Allied  powers  was  to  survive.  That  one  picture, 
literally  even  one  still  picture,  is  worth  a  thousand 
words  is  evidenced  in  this  series  of  films. 

The  recent  controversy  over  the  New  York  Times 
history  quiz  can  find  no  parallel  here.  It  cannot  be 
said  of  the  Orientation  Series  that  here  is  a  superficial 
course  in  World  War  history.  The  films  make  no  pre- 
tense at  being  all-inclusive  in  scope.  But  they  are 
real.  Sometimes  they  are  grim,  but  they  are  authen- 
tic. That  the  average  American  is  somewhat  lacking 
in  his  knowledge  of  history  was  revealed  in  the  Nexv 
York  Times  quiz.  Already  the  casual  observer  is 
hazy  as  to  the  year  Germany  invaded  the  low  countries, 
or  the  story  of  China's  resistance  to  Japan,  or  the  cir- 
cumstances of  the  invasion  of  Poland.  That  soldiers 
and  civilians  know  these  events  happened  is  apparent, 
but  the  far-reaching  scope    of    the    course    of    human 


events  may  not  always  be  sensed  by  those  who  lack 
insight  and  vigilance. 

It  is  realistic  enough  to  read  headlines  of  German 
aggression,  but  to  see  the  Nazis  plunge  ruthlessly 
through  Poland,  as  the  observer  does  in  the  second  of 
the  films,  called  TJie  Naais  Strike,  is  not  a  very  pretty 
])icture,  but  it  is  a  film  every  American  might  well  see. 
The  third  film  in  the  group,  Divide  and  Conquer,  has 
as  its  thesis  that  a  world  cannot  exist  half-free  and 
lialf-slave.  half- Axis  and  half -democracy.  It  portrays 
the  German  offensive  in  Norway.  Holland  and  France. 

The  four  other  Orientation  motion  pictvires  which 
depict  the  reasons  as  to  why  we  fight  deal  with  the 
Battle  of  Britain,  Battle  of  Russia,  Battle  of  China. 
and  America  Goes  to  War.  This  last  has  to  do  with 
Pearl  Harbor  and  American  reactions  thereto.  The 
average  soldier  or  civilian  will  be  better  informed  about 
why  we  are  fighting  to  maintain  a  free  world  after 
seeing  one  or  several  of  this  Army  Orientation  Series, 
whether  he  has  seen  them  at  LSD  or  at  some  other 
army  post. 

Films  such  as  Desert  Victory.  Wake  Island.  Next 
of  Kin  together  with  Prelude  to  War.  and  others  of  its 
type,  are  documentary  evidence  which  Americans  may 
see  and  believe.  Such  motion  pictures  undoubtedly 
make  them  more  determined;  they  tend  to  crystallize 
belief  and  concept.  As  General  Marshall  pointed  out, 
a  knowledge  of  these  is  essential.  To  the  Training 
Division,  Lexington  Signal  Depot,  of  which  Major  W. 
Gayle  Starnes  is  Chief,  is  delegated  the  responsibility 
of  utilizing  training  films  through  one  of  its  branches, 
Training  Services,  with  Captain  Coleman  E.  Alford 
as  officer  in  charge.  Training  films  are  made  for  the 
purpose  of  aiding  to  impart  skill,  procedures,  tactics, 
as  a  part  of  the  soldier's  instruction.  The  Lexington 
Signal  Depot's  film  library  has  hundreds  of  16mm 
training  films,  motion  pictures  which  constitute  an  in- 
tegral part  of  every  day's  teaching.  The  scope  of  sub- 
ject coverage  is  varied.  The  contents  of  the  films  are 
usually  classified  as  restricted.  In  many  instances, 
film  industries  have  cooperated  in  production.  The 
Motion    Picture   Academy   of  Arts   and   Sciences   has 

{Concluded  on  page  348) 


Action  shots  from  "Desert  Victory."  (Produced  by  Film  Units  of  the  British  Army  and  R.A.F.  Released  by  20th  Century-Fox.) 


'November,   1943 


Page  331 


Visual  Instruction  in  Elementary  Schools 


WHEN  we  speak  of  visual  instruction  or  visual 
education,  we  mean  more  than  is  usually  im- 
plied in  the  term  "visual."  More  and  more 
common  is  the  use  of  broader  terms  such  as  "audio- 
visual," "visual-sensory"  or  just  "sensory  aids."  One 
leader  in  our  field  has  proposed  the  excellent  term, 
"perpetual  learning,"  but  so  far  it  is  not  widely  em- 
ployed. However,  whatever  the  term,  all  educators 
recognize  the  value  of  the  various  aids  which  vitalize 
a  unit  of  study  and  make  it  a  concrete  experience. 
The  conventional  and  conveniently  brief  term,  "visual 
aids."  should  always  be  understood  as  meaning  more 
than  those  aids  which  utilize  the  sense  of  sight  alone. 

Concrete  Experience  in  Learning 

Generally  .speaking,  elementary  principals  and  teach- 
ers recognize  the  need  for  concrete  experience  in 
learning,  and  utilize  all  available  aids  to  a  much  greater 
extent  than  do  most  junior  high  school,  high  school, 
or  college  teachers.  This  is  probably  as  it  should  be 
since  by  high  school  and  college  age,  the  mentally 
unsuited  have  usually  been  somewhat  weeded  out  of 
straight  academic  classes.  After  youngsters  have 
broadened  their  life  experiences  through  contacts  in 
the  home,  the  community  and  to  some  extent  the  world, 
by  travel  and  reading,  they  are  more  able  to  read 
meaning  into  the  abstract,  printed  page.  But  fre- 
quently, we  might  add,  too  much  of  this  ability  is  taken 
for  granted  by  high  school  and  college  teachers.  If 
you  doubt  this,  read  some  of  the  results  of  experiments 
with  college  and  high  .school  .students  in  re-stating 
single  paragraphs  which  they  have  been  asked  to  read. 
It  would  be  very  funny  if  it  were  not  so  pathetic. 
However,  these  older  students  are  not  our  problem 
just  now.  We  want  to  consider  here  what  we  can  do 
to  solve  some  of  the  most  common  problems  in  a  vis- 
ual-sensory program  in  the  average  elementary  school. 

Tjrpes  of  Aids 

The  various  types  of  aids  are  familiar  to  all — the 
direct  observation  types,  such  as  the  field  trip  or  school 
journey :  the  less  concrete,  since  not  in  the  natural 
liabitat,  but  still  for  direct  observation  such  as  speci- 
mens, exhibits,  and  models ;  the  representation  of 
actual  objects  by  means  of  motion  or  still  pictures ; 
the  abstract  aids  such  as  graphs,  maps,  posters  and 
cartoons ;  the  ear-compelling  aids  such  as  radio  and 
recordings ;  and  various  other  aids  such  as  puppets, 
dramatization  and  the  like.  .All  are  important,  and  all 
have  their  place  in  a  well-rounded  jirogram.  Xo  one 
is  a  cure-all  and  no  one  can  take  the  place  of  the  others. 

Practical  Problems 

Let  us  consider  some  of  the  practical  problems  which 
confront  every  principal  or  supervisor  in  a  successful 
program  of  visual-sensory  aids  to  learning.  Some 
problems  are  more  in  evidence  in  certain  schools  than 
are  the  others,  but  if  vour  school  does  not  have  to  con- 


Exposition  by  an  expert  of  the  responsibil- 
ity of  elementary  schools  for  promoting  the 
wider  and  better  use  of  all  perceptual  aids. 

LELIA     TROLINGER 
Director,  Bureau  of  Visual  Instruction 
University  of  Colorado,  Boulder 

sider  one  or  more  of  the  following  questions,  you  are 

lucky : 

a — How   can    we   finance    a   satisfactory   audio-visual 
program  ? 

b — What  is  our  best  source  of  aids? 

c — How  can  we  best  integrate  the  aids  into  the  cur- 
riculum ? 

d — How  can  we  train   our  teachers  to   use   the   aids 
effectively  ? 

e — How  can  we  enlist  the  support  of  the  community 
in  our  program? 

f — How  can   we   evaluate   our   program   to   determine 
if  it  is  actually  successful? 
No  outsider  can  give  a  full  answer  to  any  of  these 

questions   for  any   school.      Conditions    vary    greatly 

and  local  situations  may  complicate  certain  phases  of 

any  question.     We  can  merely  offer  suggestions  which 

other  teachers  and  principals  have  found  helpful. 

Financing  the  Program 

One  of  the  first  things  that  every  teacher  or  princi- 
pal says  when  a  new  program  of  this  type  is  proposed 
is,  "How  can  we  finance  it?"  The  reply  to  that  has 
to  be  relative.  How  extensive  a  program  do  you  plan  ? 
How  much  equipment  do  you  already  have  in  the 
school?  Incidentally,  the  top  shelves  of  the  closets 
in  classrooms  or  offices  may  disclose  equipment  that  no 
one  suspected.  Are  you  starting  a  full  program  at 
first  9r  do  you  plan  to  build  it  gradually?  If  gradu- 
ally, what  types  of  equipment  do  you  want  first?  For 
example,  one  school  may  find  that  a  motion  picture 
projector  is  the  first  need  to  be  filled ;  another  may 
feel  that  a  lantern  slide  projector,  or  an  opaque  pro- 
jector for  magazine  illustrations  or  prints,  is  its  great- 
est need ;  or  still  another  may  feel  that  a  playback 
unit  for  recordings  will  give  the  greatest  service  to 
the  greatest  number. 

Theoretically,  all  equipment  should  be  provided  by 
the  school  board,  just  as  library  books,  maps,  chalk 
and  erasers  are  supplied.  In  making  the  actual  start, 
it  is  sometimes  difficult  to  make  a  school  board  or  su- 
perintendent see  the  light.  Oftener  it  is  easier  to  con- 
vince the  P.T.A.  that  a  projector  is  badly  needed  and 
to  induce  that  group  to  buy  or  help  to  buy  it.  How- 
ever, many  types  of  aids  cost  practically  nothing  ex- 
cept time  and  work,  and  it  becomes  merely  a  question 
of  organization  to  collect  pictures,  post  cards,  school 
museum  specimens,  exhibits,  et  cetera ;  or  to  perfect 
the  technique  of  school  journeys.  Many  of  our  finest 
aids  lie  just  outside  our  schoolroom  windows,  and  are 
ours  for  the  taking. 

The  goal  to  be  aimed  at  in  financing  an  audio-visual 
program  is  a  definite  appropriation  by  the  school  board 


Page   332 


The  Educational  Screen 


Central  American  exhibit  at  Whittier  School  in  Boulder. 

or  governing  body  based  on  a  per  pupil  per  year  basis. 
The  amount  per  pupil  depends  upon  local  conditions 
and  your  powers  of  persuasion.  Some  visual  instruc- 
tion directors  estimate  that  25c  per  pupil  per  year  will 
give  them  a  fair  jirogram ;  others  insist  upon  at  least 
50c.  In  a  few  places  the  program  is  based  upon  $1.00 
per  pupil  per  year.  Part  of  this  difference  lies  in  the 
fact  that,  with  the  highest  rate,  the  budget  includes  the 
salary  of  the  director  and  any  helpers  that  are  needed. 
I  suggest  that  you  take  what  you  can  get.  and  use  that 
so  well  that  you  are  justified  in  asking  more  as  the 
program  progresses.  If  you  are  doing  a  first  class 
job  with  the  aids  that  cost  nothing  except  time  and 
work,  you  have  a  much  l^etter  chance  to  get  the  more 
expensive  equipment  and  the  aids  that  do  cost  a  con- 
siderable sum. 

Planning  the   Program 

Above  all,  do  plan  your  program  before  you  start. 
Make  an  inventory  of  what  you  now  have,  and  then 
lay  out  a  five  or  ten  year  ])lan — just  what  should 
you  plan  to  buy  the  first  year?  What  the  next  year? 
What  should  the  school  system  expect  to  have  at  the 
end  of  five  years?  How  much  of  the  total  sum  should 
go  into  equipment  and  how  much  for  upkeep  and  ren- 
tal materials  ?  How  much  should  be  allocated  for  post- 
age and  express  on  exhibits  that  are  offered  free  ex- 
cept for  transportation  ?  How  much  for  supplies  such 
as  movmts  for  pictures,  materials  for  handmade  slides 
or  other  pupil-made  aids  ?  ( Exam]:)]es  are  not  rare  of 
schools  that  have  paid  $300.00  for  a  sound  film  pro- 
jector and  then  have  no  funds  with  whicli  to  rent 
pictures) . 

If  you  have  a  detailed  plan  with  everything  budg- 
eted, you  can  expect  a  much  greater  degree  of  sym- 
pathy from  those  whose  business  it  is  to  see  that  the 
taxpayers'  money  is  not  wasted,  than  if  you  merely 
"think  it  would  be  nice  if  you  had  a  motion  picture 
projector."  Get  the  backing  of  the  school  authorities 
if  possible.  If  that  cannot  be  secured,  try  all  other 
sources — P.T.A.,  candy  sales,  special  programs,  or 
what  have  you.  But  start — start  with  free,  pupil-made, 
or  teacher-made  aids,  and  gradually  expand  as  you 
are  able. 

Obviously  visual  aids  and  equipment  made  expressly 
for  educational  purposes  is  more  valuable  and  effec- 
tive than  hetrogeneous  "'free"  material  not  so  designed. 
But  many  a    school,    now  fully    equipjDed    for    visual 


Melting  Pot  Dance  on  World  Friendship  Program. 

teaching,  made  its  start  with  these  humble  "free"  ma- 
terials. Better  such  a  start  than  no  start  at  all.  And 
you  will  arrive  far  sooner  at  the  desired  end  of  a  com- 
plete visual  installation.  A  few  specific  suggestions 
may  be  in  order  here.  Does  your  school  have  a  school 
nuiseum?  If  not,  why  not?  Are  you  familiar  with 
Miller's  little  book,  "Free  and  Inexpensive  Teaching 
Aids?"  Just  take  a  look  at  it — booklets,  exhibits, 
charts,  pictures,  all  practically  for  the  asking.  There 
is  a  wealth  of  material  available  through  the  Pan- 
American  Union  on  all  the  countries  of  the  Western 
Hemisphere,  and  at  a  very  low  cost.  Check  the  ads  in 
the  better  magazines  and  write  for  illustrated  material. 
Railroad  companies,  Chambers  of  Commerce,  large 
commercial  firms,  government  agencies,  all  are  fruit- 
ful sources  if  the  request  is  made  in  the  name  of  the 
school.  Have  you  canvassed  your  community?  Many 
homes  have  historical  objects,  curios,  old  costimies, 
exhibits  and  collections  which  sometimes  will  be  given 
outright,  sometimes  loaned,  when  the  school  starts  a 
museum.  How  about  making  collections  in  your  com- 
munity of  local  products  and  exchange  them  with 
schools  in  other  states  for  collections  made  there. 
Think  of  the  excellent  project  which  might  be  done 
in  Boulder,  for  example,  in  elementary  geolog)'  and 
the  collection  of  rocks  which  might  be  exchanged  for 
a  cotton  exhibit  made  by  a  school  in  Texas.  The  field 
is  unlimited.  Let  the  children  exchange  letters  with 
children  of  other  states  in  the  same  grade  and  arrange 
for  this  exchange  of  exhibits.  That  provides  a  good 
chance  for  correlation  of  letter  writing  in  the  langu- 
age classes  and  those  classes  for  which  the  exhibits 
will  be  used.  Finally  there  are  the  many  pictures 
which  may  be  had  for  the  asking — pictures  from  the 
better  type  of  magazines.  Many  homes  in  your  com- 
munity, taking  many  magazines,  will  gladly  give  back 
numbers,  particularly  if  it  is  known  that  they  will  be 
well  used. 

At  the  start  most  projected  aids,  such  as 
films  and  slides,  will  seem  expensive  if  bought  out- 
right. Except  in  large  cities,  most  schools  do  not 
expect  to  buy  motion  picture  films  because  of  the  large 
initial  cost  and  a  certain  amount  of  depreciation.  In- 
stead they  make  use  of  commercial  libraries  on  a  rental 
basis.  You  shoiild  investigate  also  your  nearest  state 
service,  for  transportation  becomes  an  item  of  no  mean 
cost.  If  you  find  a  film  that  exactly  fits  your  course 
of  study,  and  hence  will  be  used  by  several  teachers 


November,  1943 


Page   333 


One  of  the  Junior  Ked  Cross  projects. 

two  or  tlirec  times  a  year,  it  may  be  better  to  buy  it. 
Compare  the  rental  price,  for  the  use  }ou  wish  to  make 
of  it  over  two  or  three  years,  with  the  purchase  price, 
and  if  there  is  not  much  difference  and  you  have  a  good 
storage  place  and  facilities  for  keeping  the  fihn  in  con- 
dition, then  buy  the  ])rint :  otherwise,  better  go  on 
renting  and  let  the  film  distributor  take  care  of  it. 

Many  schools  have  their  own  collection  of  lantern 
slides,  and  many  more  are  now  starting  collections  of 
the  2"  X  2"  kodachrome  slides.  In  fact,  a  growing 
number  of  schools  now  own  their  own  cameras  for 
making  these  small  slides,  and  are  making  the  pictures 
that  exactly  fit  into  their  courses  of  study.  Slides  are 
splendid  aids — -many  teachers  feel  that  nothing  can  re- 
place them  for  detailed  study.  .And  do  not  forget  the 
excellent  student-made  slides  that  children  enjoy  and 
profit  by  so  greatly.  It  is  a  grand  opportunity  for  cor- 
relation of  art  and  other  subjects. 

Intere-st  in  visual  aids  is  a  little  like  a  disease  in 
the  way  it  spreads  and  spreads  when  a  school  once 
starts  on  an  enthusiastic  program.  New  sources  open 
until  it  liecomes  necessary  to  pick  and  choose,  but  by 
that  time  your  teachers  will  have  developed  high  pow- 
ers of  evaluation. 

Integration  into  Curriculum 

-A.  supreme  necessity  is  to  divorce  in  the  students' 
minds  the  idea  of  study  from  entertainment.  All  too 
soon  when  a  film  is  announced,  students  immediately 
e.xclaim,  "Picture  Show!"  Here  frequently  the  prin- 
cipal is  to  blame.  .\  teacher  may  have  a  picture  for  a 
specific  unit.  The  principal  says.  "This  is  an  excellent 
picture.  We  will  show  it  to  the  entire  school."  Right 
then  is  violated  the  first  principle  of  integration  of  aids 
into  the  curriculum.  If  you  buy  a  set  of  supplemen- 
tary readers  for  a  particular  grade,  you  do  not  imme- 
diately say  to  all  grades.  "These  are  excellent  read- 
ers. I  think  that  all  the  students  should  read  tiiem 
now.'"  One  suggestion  is  just  as  logical  as  the  other. 
Do  not  show  a  film  to  all  just  because  you  have  it  in 
the  building.  If  a  film  is  ordered  for  a  special  class, 
use  it  for  the  jnirpose  for  which  it  was  ordered.  Do 
not  misunderstand — there  is  a  place  for  the  use  of 
pictures  for  the  entire  school,  but  that  should  not  be 
confused  with  a  special  class  aid.  For  assembly  pro- 
grams, a  good  film  or  set  of  slides  is  frequently  an  ex- 
cellent device  and  has  much  educational  value.  But 
these  should  not  be  confused  with  aids  planned  to 
clarify  and  enrich  a  particular  unit. 


Student-Made  posters  for  conservation  campaign. 

Teacher  Training 

Perceptual  aids  are  valuable — more  valuable  than 
most  of  us  realize — but  they  lose  their  efficiency  in 
the  hands  of  an  untrained,  careless,  or  lazy  teacher. 
One  of  our  greatest  handicaps  in  wider  and  more 
efficient  use  of  aids  has  been  the  lack  of  teachers  who 
have  had  training  in  the  use  of  visual-sensory  aids.  Our 
teacher-training  institutions  have  done  a  very  poor 
job  in  that  field  during  the  past  twenty  years.  Many 
have  said  that  specific  classes  in  audio-visual  aids  are 
unnecessary  since  "every  methods  class  should  be  a 
training  field."  Theoretically  that  is  true,  although 
many  flaws  can  be  pointed  out  in  that  argument ;  but 
the  fact  reiiiains  that  it  has  not  been  done.  This  is  a 
big  field,  with  many  technical  phases  of  which  our 
teaching  personnel  of  today  are  completely  unaware — 
I  mean  the  facilities  of  our  institutions  of  higher  learn- 
ing. Summer  school  classes  are  doing  a  good  piece 
of  work  but  they  are  insufficient  to  train  all  in-service 
and  pre-service  teachers.  Study  classes  in  a  school 
systeiu,  teachers'  meetings,  extension  classes,  or  indi- 
vidual study  help  solve  the  problem,  but  it  takes  time ; 
however,  teachers  must  be  given  some  assistance  if 
you  expect  satisfactor\-  returns  for  the  money  spent 
on  aids.  You  must  realize  at  the  start  that  visual  aids 
are  not  tools  for  a  lazy  teacher.  Efficient  use  of  any 
aids  requires  careful  preparation,  skillful  use,  and 
adequate  check-uj).  \\'ithout  these,  much  of  the  value 
is  lost.  Also,  please  do  not  try  to  force  the  use  of 
the  aids  upon  a  teacher  not  interested.  You  may  get 
a  perfunctory  use.  it  is  true :  but  the  actual  values 
derived  may  be  discredited  or  completely  lost.  One 
enthusiastic,  well-trained  teacher  may  be  the  leaven 
that  will  lighten  the  whole  loaf,  but  sometimes  it  takes 
time.  Interest  in  this  field  is  contagious  and  therein 
lies  our  final  salvation. 

Do  not  lose  sight  of  the  resources  of  your  commun- 
ity. Enlist  the  interest  of  business  organizations 
through  trips  to  their  places  of  business ;  acquaint  the 
city  officials  with  the  work  of  the  school  and  ask  them 
to  explain  features  of  the  city  government ;  make  a 
film  of  school  activities  and  invite  the  public  to  see  it 
— even  more,  offer  to  show  it  to  service  clubs,  church 
groups  or  business  organizations  that  might  not  come 
to  the  school  building  to  see  it.  Anything  that  gives 
true  information  about  the  work  of  the  school  strength- 
ens the  ties  Ijetween  the  school  and  the  public  and 
makes  the  work  of  the  school  more  efficient.     Audio- 

(Coiicluded  on  page  336) 


Page  334 


The  Educational  Screen 


Film  Forums  —  dn  Adventure  in 
Adult  Education 


How  iilms  can  aid  the  library 
in  taking  a  more  important 
role  in  community  education. 


MIRIAM    PUTNAM 

Librarian,  Memorial  Hall  Library 
Andover,  Massachusetts 


THE  Joint  Committee  on  Film  Forums'  offer  of 
financial  assistance  for  a  series  of  library  film 
forums  presented  too  alluring  an  adventure  to  be 
turned  down  lightly.  Despite  some  misgivings  as  to  the 
advisability  of  undertaking  such  a  program  in  these 
times,  the  Memorial  Hall  Library  decided  to  experi- 
ment and,  with  the  cooperation  of  the  Joint  Committee, 
carried  out  a  series  of  eight  forums  from  February  15 
to  April  12  last.  The  underlying  theme  was  "Winning 
the  War  and  the  Peace"  and  included  the  following 
subjects :  Russia,  China,  Production  Front,  Propa- 
ganda, Child  Care,  Nutrition,  Minority  Groups,  and 
Post  War  World. 

The  forums  attracted  one  hundred  and  fifty  people 
with  a  total  attendance  of  some  four  hundred.  All  nor- 
mal publicity  channels  were  used :  weekly  write-ups  in 
newspapers,  posters  in  store  windows,  notices  to  organ- 
izations, special  mailing  lists,  and  the  like.  After  all, 
the  best  publicity  is  word  of  mouth  and  the  best  proof 
of  interest  in  the  forums  was  that  people  did  pass  on 
the  word  to  their  friends. 

Our  audiences  were  composed  of  men  and  women 
from  all  walks  of  Hfe — representing  a  true  cross  sec- 
tion of  the  town — housewives,  teachers,  a  chemist,  a 
chauffeur,  mill  workers,  a  barber,  a  civil  engineer, 
librarians,  a  personnel  manager,  nurses,  social  workers, 
students,  business  men,  a  soldier,  clerks.  In  the  main 
they  belonged  in  the  25-60  age  group.  As  is  not  sur- 
prising, women  outnumbered  men  four  to  one.  Trans- 
portation restrictions  certainly  did  affect  our  attend- 
ance since  all  but  about  one  fifth  of  the  group  lived 
within  easy  walking  distance  of  the  library. 

We  were  particularly  fortunate  in  securing  excellent 
leadership  for  our  forums,  both  from  within  and  out- 
side the  community.  Four  of  the  leaders  were  faculty- 
members  from  Phillips  Academy  and  Abbott  Academy, 


♦Partial  reprint  from  the  Massachusetts  Library  Associa- 
tion Bulletin,  Vol.  33,  No.  3. 


Courtesy  New  York  University  Film  Library 

Children  on  nursery  farm  depicted  in  "A  Child  Went  Forth." 

(Produced  by  Joseph  Losey  and  John  Ferno) 

while  leaders  from  the  outside  included  a  representa- 
tive of  the  War  Manpower  Commission,  a  director  of 
United  China  Relief,  and  the  Director  of  the  Boston 
Nursery  Training  School.  Local  leadership  of  forums 
does  have  advantages  since  the  discussion  can  be  bet- 
ter related  to  community  problems  and  the  program 
becomes  much  more  a  real  community  enterprise.  There 
is  no  doubt  also  that  outside  leaders,  who  are  authori- 
ties in  their  subjects,  are  eagerly  anticipated  and  bring 
much  of  value  to  the  groups. 

The  forums  were  held  in  the  library  auditorium  on 
Monday  evenings  at  7:30,  an  hour  which  proved 
rather  too  early  for  many  people.  The  librarian  pre- 
sided, briefly  introduced  the  subject  for  discussion, 
announced  the  films  with  any  comment  necessary,  in- 
troduced  the   leader,  called   attention  to   the   library's 


November,  1943 


Page  335 


books,  magazines  and  pamphlets  available  for  loan,  and 
reminded  the  audience  of  the  next  film  forum  to  come. 

Two  or  three  films  were  shown  each  evening  with  a 
running  time  of  twenty  to  thirty-five  minutes.  Dis- 
cussion did  not  necessarily  confine  itself  to  the  films, 
but  the  films  do  provide  the  group  with  a  common  ex- 
perience and  supply  points  of  departure  from  which 
discussion  can  stem.  Good  discussion  films  are  not 
available  in  all  subjects,  but  even  purely  factual  films 
provide  atmosphere  and  background.  Several  OWI 
films  were  shown,  the  best  of  which  are  excellent.  The 
film  Divide  and  Conquer,  however,  came  in  for  much 
criticism  since  the  group  felt  that  it  incorporated  the 
worst  features  of  the  very  type  of  "propaganda"  that 
it  sought  to  expose.  The  following  films  used  should 
be  given  sf)ecial  mention  because  of  technical  excel- 
lence, conception,  and  discussion  value:  .-/  Cliild 
Went  Forth,  an  extraordinarily  beautiful  document  of 
childhood ;  For  Health  and  Happiness,  a  lovely  color 
film  on  nutrition  :  The  Arm  Behind  the  Army,  an  OWI 
film  about  the  important  part  played  by  men  and  women 
in  war  industries ;  The  Western  Front,  about  China 
today ;  The  World  We  Want  to  Live  In,  issued  by  the 
National  Conference  of  Christians  and  Jews ;  and 
Priee  of  Victory,  an  OWI  film  based  on  Henry  Wal- 
lace's speech.  Rental  fee  on  the  films  used  was  a  very 
minor  item. 

Where  American  films  were  not  available  British 
films  were  u.sed.  The  British  films  were  always  to  the 
point  and  often  came  quickly  to  the  core  of  the  problem. 
Their  lack  of  technical  perfection  in  comparison  with 
American  films  oddly  enough  sometimes  added  to  their 
charm.  However  the  group  did  have  some  difficulty 
with  the  British  accent.  The  only  film  shared  with 
another  group.  Price  of  Victory,  was  shown  to  a  junior 
high  school  group  of  ninth  graders.  More  of  this 
should  be  done  when  we  undertake  another  series  next 
year. 

The  discussion  periods,  lasting  anywhere  from  a 
half-hour  to  an  hour,  were  more  enjoyed  than  the 
films.  Each  meeting  was  different.  Sometimes  dis- 
cussion marked  the  high  point ;  at  other  times  the 
audience  was  chiefly  concerned  in  absorbing  the  lead- 


"Report  from  Russia"  shows  children  working  on  the  farm 
front.    (An  OWI  release.  U.  S.  News  Review  No.  4.) 


From  the  OWI  film,  "Wartime  Nutrition." 

er's  special  knowledge  of  the  subject.  We  discovered, 
incidentally,  that  the  subject  specialist  does  not  always 
make  the  best  discussion  leader.  Generally  the  best 
forums  are  those  led  by  people,  with  knowledge  of  the 
subject  to  be  sure,  who  are  skilled  in  discussion  tech- 
nique and  the  ability  to  draw  out  the  group  and  keep 
discussion  moving.  Under  the  right  leadership  even 
a  timid  member  of  the  audience  can  be  induced  to 
make  his  contribution  to  the  group  thought. 

The  success  of  such  a  project  is  apt  to  be  measured 
by  the  size  of  the  audience  attracted.  For  film  forums 
a  small  group  is  often  more  conducive  to  good  discus- 
sion than  a  large  one.  At  several  of  our  forums  it 
was  necessary  to  terminate  discussion  while  it  was 
still  going  strong.  There  is  something  essentially 
sound,  it  seems  to  us,  about  meetings  of  this  kind  where 
men  and  women  of  diverse  backgrounds  discuss  com- 
mon problems  with  saneness  and  intelligence.  Perhaps 
the  best  discussion  of  all  comes  after  the  formal  meet- 
ing is  over.  Ten  o'clock  on  many  a  Monday  evening 
found  small  groups  still  eagerly  carrying  on,  some  en- 
tering the  discussion  who  had  not  previously  spoken. 
We  know  of  some  discussions  that  continued  all  the 
way  home,  and  we  should  like  to  hope  that  through 
books  further  exploration  of  many  subjects  was  made. 
Book  lists  were  prepared  for  each  meeting  available 
for  home  loan.  The  number  of  books  issued  was  small, 
liut  there  was  not  an  evening  when  they  failed  to  cir- 
•  iilatc. 

And  now  that  the  series  is  over?  Certainly  our  first 
impression — now  a  conviction — is  that  the  undertak- 
ing was  successful  and  important  as  a  whole.  And 
there  are  the  small  things,  mere  straws  of  evidence  but 
in  essence  near  to  the  heart  of  the  whole  film  forum 
idea.  There  was,  for  example,  our  first  forum  on 
China — eagerly  awaited  as  an  initial  barometer  of 
interest  in  our  venture — on  February  15.  The  mer- 
'ury  stood  at  fourteen  below  zero  and  our  hopes  sank 
Imost  as  low.     Yet  thirty  people  braved  the  cold  and 

c  felt  amply  repaid.  One  cherished  impression  is  of 
-nme  boys,  not  noted  for  quiet  behavior,  who  gave  rapt 
attention  to  the  film  and  the  discussion,  and  gathered 
around  the  leader  afterward  hanging  on  every  word 


Page   336 


The  Educational  Screen 


as  she  told  them  of  China  and  traced  important  places 
on  a  map.  And  tliere  was  the  exhilaration  at  the  sight 
of  the  group  of  o\-er  a  hundred  attending  our  forum 
on  Russia,  unmistakable  evidence  of  the  current  in- 
terest in  our  great  ally.  In  that  audience  was  a  young 
soldier  from  a  nearby  Militarj'  Police  Post  who  had 
dropped  in  very  casually  and  stayed  to  take  part  in 
the  discussion.  His  comments  and  freshness  of  view- 
point brought  heartening  reassurance  that,  despite 
many  comments  to  the  contrary,  our  young  men  in  the 
armed  forces  are  really  thinking.  Ranking  high  among 
our  impressions  will  always  be  the  .splendid  forum  on 
Minority  Groups,  which  for  some  marked  the  high 
point  in  our  program.  It  was  not  that  the  forum 
decided  anything,  or  that  miraculously  we  caused  the 
problem  to  melt  away.  We  remember  it  because  of 
the  fine  spirit  in  which  we  discussed  our  number  one 
minority  problem,  the  Negro,  and  because  of  the  con- 
tribution, greatly  .strengthening  our  discussion,  of  a 
Negro  member  of  the  group.  As  one  woman  remarked 
afterward:  "If  you  had  had  no  other  meeting  save 
this  one  it  would  have  justified  the  series." 

Enthusiastic  comments  from  forum  attendance  proved 
that  there  is  a  real  desire  for  a  program  of  this  type. 
Many  expressed  the  hope  for  a  similar  series  another 
year  and  one  constant  attendant  remarked  sadly  as 
the  series  drew  to  a  close,  "I  hate  to  liave  them  over. 


Couldn't  you  possibly  extend  them?"  "If  I  had  known 
they  were  as  good  as  this,  I  would  have  come  to  them 
all,"  was  the  comment  of  one  mill-worker.  Another 
said,  "We  are  just  beginning  to  catch  the  idea — it  was 
rather  new  at  first."  Our  leaders  showed  like  enthus- 
iasm, one  of  whom  recently  wrote,  "I  think  that  this 
experiment  has  worked  out  exceedingly  well  .  .  . 
It  seem  to  me  to  have  opened  the  way  for  more  of  this 
same  kind  of  education  in  Andover  another  year." 

Was  it  worth  doing?  Decidedly  yes!  And  this 
despite  the  lack  of  startling  statistics  of  new  borrowers 
attracted  to  the  library,  of  more  books  circulated,  of 
further  serious  reading  undertaken — all  of  which  some 
might  consider  absolutely  necessary  as  proof  that  time 
and  effort  were  well  spent.  Some  new  borrowers  were 
acquired  and  books  did  circulate  as  a  result  of  the 
forums,  but  the  statistics  are  not  impressive.  Yet  our 
film  forums  brought  results,  intangible  perhaps  but 
results  nevertheless,  some  of  which  we  have  tried  to 
suggest.  In  addition,  our  program  has  achieved  a 
spirit  of  renewed  friendliness  toward  the  library  and 
a  growing  realization  of  its  part  in  community  adult 
education.  Our  minds  are  already  tantalized  by  the 
prospect  of  a  program  for  another  year.  We  have 
learned  much  from  this  year's  experience  and  we  are 
the  richer  for  the  existence  of  a  nucleus  of  interested 
men  and  women  to  whom  the  forum  method  is  an  ac- 
cepted idea. 


Visual  Instruction  in  Elementary  Schools 

(Concluded  front  page  333) 

visual  aids  have  been  found  to  be  excellent  tools  for 
jiromoting  better  public  relations. 

Evaluation 

It  is  natural,  of  course,  that  the  first  evaluation  of 
the  audio-visual  program  should  be  in  terms  of  pupil 
progress  in  actual  class  work.  All  experimental  stud- 
ies show  that  good  aids,  well  used,  increase  interest, 
add  to  retention,  and  result  in  greater  factual  knowl- 
edge. We  may  then  expect  less  retardation,  a  greater 
interest,  and  usually  more  supplementary  reading  in 
the  specific  courses  in  which  the  aids  were  used.  The 
increased  interest  also  is  frequently  reflected  in  other 
related  subjects,  and  a  general  improvement  often  is 
noted. 

However,  there  are  other  aspects  in  the  evaluation 
of  a  planned  visual-sensory  program.  Enlisting  the 
resources  of  the  community  helps  both  the  school  and 
those  who  make  contributions.  Children  tend  to  isolate 
school  from  normal  activities  outside.  Here  is  an  op- 
portunity to  utilize  a  natural  social  situation  and  de- 
velop desirable  habits.  Why  not  let  the  children  write 
letters  asking  for  permission  to  visit  these  local  organ- 
izations? Then  be  sure  that  a  note  of  thanks  for  the 
privilege  is  .sent.  Respect  for  property,  desirable  con- 
duct on  the  streets  and  in  public  places  are  but  two 
of  the  many  social  attitudes  which  may  be  developed 
in  the  children.  Interest  in  the  schools  naturally  de- 
velops on  the  part  of  those  who  are  extending  the 
favor. 

Another  problem  confronting  the  schools  today  is  the 
better  use  of  leisure  time.  Motion  picture  appreciation 
clas.ses  and  movie  clubs  tie  into  a  program  of  audio- 


visual aids  very  closely.  Children  go  to  the  movies  so 
why  not  make  them  an  educational  tool  as  well  as  a 
good  use  of  leisure  time.  If  well  handled,  appreciation 
classes  should  increase  the  enjoyment  rather  than  other- 
wise. Motion  pictures,  however,  are  but  one  item  in 
the  problem  of  leisure  time.  In  written  reports  of  teach- 
ing with  various  aids,  one  is  forcibly  struck  with  the 
number  of  hobbies  developed  and  completedly  new 
abilities  demonstrated  by  the  children  as  a  result — 
making  models,  new  interest  in  phases  of  nature  study 
that  result  in  collections  and  wide  reading,  photographic 
activities,  hidden  artistic  talents — to  name  a  few  of  the 
many  that  have  been  reported.  All  of  these  may  result 
in  hobbies  and  lifelong  interests  which  constitute  valu- 
able uses  of  leisure  time. 

Many  students  go  through  their  school  life  without 
ever  experiencing  the  satisfaction  of  doing  a  thing  well 
and  receiving  recognition  therefor.  A  feeling  of  in- 
feriority frequently  handicaps  such  students  all  through 
life.  When  we  see  the  number  of  misfits  around  us 
daily,  we  all  realize  the  desirability  of  doing  something 
about  it.  A  well  organized  and  executed  program  of 
sensory  aids  will  help  enormously  to  this  end.  It  is 
incumbent,  therefore,  on  all  principals  to  promote  the 
wider  and  better  use  of  all  types  of  perceptual  aids,  not 
only  to  speed  up  and  enrich  learning  but  to  encourage 
democratic  participation  by  all  members  of  the  classes 
(and  it  will  do  just  that).  We  must  recognize  that 
these  aids  actually  can  contribute  to  a  better  citizenry 
because  of  better  training  in  schools — a  training  based 
on  modern  principles  of  the  psychology  of  education 
for  developing  a  well-rounded,  integrated  personality. 
Elementary  school  teachers  and  principals  throughout 
the  nation  have  a  great  responsibility  in  laying  the 
foundation  for  this  development. 


November,  1943 


Page   337 


The  Film  and  International  Understanding 


IX  DEALT XG  with  a  compound  title  such  as  The 
Film  and  International  Understanding,  it  is 
very  easy  to  lose  one's  balance  and  to  emphasize  one 
member  of  the  title  to  the  neglect  of  the  other :  and  it 
is  just  as  simple  to  fall  into  the  custom  of  habitually 
approaching  any  discussion  through  one  end  of  the 
title  rather  than  the  other.  As  educators  in  the  visual 
Held  it  is  only  natural  for  us  to  gravitate  to  the  first 
member,  "The  Film,"  and  to  end  up  with  implications 
for  the  other  member,  "International  Understanding." 
We  should  remember  that  both  members  compose  the 
title,  that  they  balance,  and  that  at  least  occasionally  it 
might  be  well  for  us  to  look  at  the  whole  matter  from 
the  angle  of  the  second  member  in  the  hope  of  arriving 
at  some  implications  for  the  first  member. 

Because  of  the  many  fine  films  with  international 
material  which  are  being  produced,  it  is  very  easy  for 
educators  interested  in  this  phase  of  visual  education  to 
emphasize  the  film  as  such,  to  approach  the  problem 
through  the  possibilities  of  the  film,  and  to  gratefully 
accept,  perhaps  even  magnify,  the  elements  of  inter- 
national understanding  involved. 

It  is  not  intended  to  criticize  such  procedure,  since  it 
often  has  accomplished  much  good  and  sometimes  has 
sown  seed  where  the  ground  otherwise  might  have 
remained  untouched.  It  must  be  recognized,  however, 
that  at  other  times  it  has  lessoned  or  lost  the  support 
for  visual  education  of  disappointed  workers  in  subject 
matter  fields  who  felt  that  the  bearings  of  some  film 
or  films  was  not  sufficiently  pertinent  or  comprehensive 
for  the  subject  at  hand. 

Films  in  the  field  of  international  understanding  re- 
quire as  much  care  and  discrimination  in  their  selection 
as  do  films  in  any  other  field.  There  is  no  justification 
for  showing  a  film  in  this  field  merely  "because  it  has 
international  implications."  Some  comprehension  of 
the  nature  of  international  understanding  is  required  to 
guide  selection. 

International  understanding  is  not  a  simple  unity. 
It  is  a  combination  of  various  aspects  and  elements.  It 
involves  nations  and  individuals,  governments  and  in- 
stitutions, languages  and  traditions,  customs  and  ideals, 
independence  and  interdependence,  facts  and  emotions, 
as  well  as  a  long  list  of  other  items.  Not  all  of  these 
can  or  should  be  studied  at  the  same  time  and  the  same 
place. 

Therefore  films  should  be  selected  for  their  bearing 
upon  a  particular  problem  at  hand  in  a  particular  situa- 
tion. Is  the  film  to  be  shown  in  school  or  out  of  school? 
Is  it  to  be  shown  to  children  or  adults;  at  home  or 
abroad?  What  aspect  of  international  understanding 
is  involved?  What  about  language?  This  last  point 
is  not  limited  to  foreign  languages;  some  sections  of 
our  country  have  difficulty  understanding  a  London 
accent,  and  some  Londoners  may  find  southern  drawl 
incomprehensible. 

The  particular  problem  at  hand  should  be  clearly 
understood  and  an  intelligent  effort  made  to  select  the 
right  film  to  meet  it. 

Sometimes  the  problem  may  be  merely  that  of  the 


DR.   JOHN   E.   DUGAN.   Editor 
Haddon  Heights,  New  Jersey,  Schools 

transmission  of  facts  or  ideas  from  one  nation  to  an- 
other. The  ability  of  the  film  to  do  this  effectively, 
surmounting  the  l)arriers  of  distance,  time  and  language, 
need  not  be  again  emphasized  here. 

Another  time  the  problem  may  be  that  of  the  pre- 
sentation of  some  ideal.  By  showing  the  ideal  in  action 
in  certain  activities,  the  film  maj-  present  it  more  clearly 
and  emphatically  than  any  mere  recital  of  words  ever 
could. 

Again  the  problem  may  be  the  portrayal  of  the  daily 
life  of  a  people.  For  the  problem  of  getting  througli 
the  twenty-four  hours  of  each  day  is  a  universal  and 
fundamental  one.  All  of  us  are  interested  in  how  the 
other  fellow  does  it.  An  understanding  of  his  traditions 
and  customs,  and  how  he  eats,  drinks,  sleeps  and  has 
his  amusements  may  bring  us  closer  together  than  many 
a  learned  treatise.  When  we  understand  how  and  why 
the  other  fellow  meets  the  problems  of  his  daily  exist- 
ence, he  seems  much  less  a  peculiar  stranger  to  us  and 
much  more  a  fellow  human  being  with  whom  we  have 
much  in  common. 

International  understanding  has  a  stake  in  the  film's 
power  to  arouse  emotion.  The  mere  presentation  of 
facts  and  ideals  may  die  a  dusty  death  unless  there  is 
also  a  motive  or  driving  impulse  to  action  or  devotion. 

Sometimes  a  film  may  be  used  to  portray  the  might 
of  a  nation  or  group  of  nations.  The  object  ma\'  be  to 
arouse  admiration,  to  inspire  confidence,  to  encourage 
imitation,  or  even  to  create  fear.  Whatever  the  object, 
an  intelligently  selected  film  can  do  a  better  job. 

The  production,  distribution  and  showing  of  films 
in  the  field  of  international  understanding  involves  the 
collaboration  and  cooperation  of  individuals  and  na- 
tions, and  can  in  itself  be  an  instrument  of  international 
understanding. 

Perhaps  one  of  the  best  illustrations  of  this  collabora- 
tion and  cooperation  on  a  wide  basis  is  to  be  found  in 
the  film  activities  of  the  United  Xations  Information 
Service.  Their  publication  Films  on  the  United  Na- 
tions* lists  films  under  the  headings:  Australia,  Bel- 
gium, Canada.  China,  Czechoslovakia.  Denmark 
(including  Iceland),  Fighting  France,  Great  Britain, 
Greece.  India.  Latin  America.  Luxembourg,  Nether- 
lands, New  Zealand.  Philippines,  Poland,  Union  of 
South  Africa,  United  States  of  America,  U.S.S.R.  and 
Yugoslavia. 

In  the  Foreword.  Henri  Fast  says:  "One  of  the  dif- 
ferences between  the  Axis  and  the  United  Nations  in 
the  field  of  propaganda  is  that  Berlin,  Rome  and  Tokyo 
consider  films  as  the  best  weapon  to  galvanize  the 
masses  into  collective  war  hysteria,  whereas  we  regard 
them  as  being  the  best  media  for  public  education — as 
a  means  to  bring  about,  in  a  constructive  way,  a  better 

(Concluded  on  pag€  357) 


*Films  On  The  United  Nations.     40p.  il.  2Sc.  1943  United 
Nations  Information  Office,  610  Fifth  Ave.,  New  York  City, 


Page  338 


The  Educational  Screen 


MOTION  PICTURES- 
NOT  FOR  THEATRES 

By    ARTHUR    EDWIN   KROWS 


Installment  51. — The  story  of  group  eiiorts 
to  improve  non-theatrical  conditions  contin- 
ues, with  special  attention  ior  Will  H.  Hays. 


IN  answer  to  the  familiar  arguments 
that  it  is  only  a  matter  of  custom — that 
audiences  will  accept  them  as  soon  as 
they  find  them  to  be  regular  practice. 
that  there  were  advertising  curtains  in 
the  old  stage  theatres,  and  that  the  pub- 
lic accepts  advertising  in  its  magazines, 
newspapers  and  public  conveyances — is 
the  irrefutable  fact  that,  in  magazines  and 
so  on,  one  is  not  compelled  to  look  at 
such  bids  for  attention.  In  the  film 
theatre  he  cannot  avoid  it  without  the 
absurd  condition  of  shutting  his  eyes. 
And,  because  this  is  so,  the  spectator 
conceives  that,  when  he  comes  to  the 
theatre  and  buys  his  share  of  a  specified 
period  of  entertainment,  the  purveyor  of 
that  entertainment  has  no  right  to  upset 
the  tacitly  understood  exchange  of  values 
by  trying  to  exploit  him  with  sales  pro- 
motion. 

The  theatregoer  has  come  to  accept 
certain  screen  advertising  of  forthcom- 
ing attractions,  although  he  occasionally 
protests  the  over-supply.  He  is  patient 
with  the  reel  of  self-praise  which  extols 
the  theatre  cooling  systems  in  summer — 
although  he  groans  a  little  when  he  sees 
it  too  often.  So  it  is  evident  that  he 
will  "stand  for"  a  certain  amount  of 
screen  advertising.  But  this  recalls  what 
G.  E.  Lessing  once  said  about  a  pas- 
sable stage  play :  "The  public  will  put 
up  with  it ;  this  is  well,  and  yet  it  is 
not  well.  One  has  no  especial  longing  for 
the  board  at  which  one  always  has  to  put 
up  with  something."  But  here  is  the 
weak  human  factor  again — the  average 
motion  picture  exhibitor  is  always  will- 
ing to  try  the  patience  of  his  patrons, 
especially  if  by  so  doing  he  can  add  to 
his    immediate   money    profits. 

Therefore  he  has  worked  the  screen 
advertising,  for  which  he  is  paid,  in 
among  his  regular  "trailer"  announce- 
ments of  pictures  to  come..  He  has  con- 
cluded that  the  audience  will  swallow 
the  sales  talk  so  long  as  he  does  not  com- 
pletely exhaust  the  spectator's  patience. 
It  is,  in  his  opinion,  just  a  matter  of  time, 
time,  which  must  not  be  too  protracted. 
The  "plug"  must  not  be  overdone.  The 
advertising  specialists,  being  of  the  same 
opinion,  have  made  their  subjects  of 
trailer  brevity,  the  better  to  be  "slipped 
in."  So  technique  develops,  and  some  of 
the  balanced  programs  are  not  especially 
annoying.  But  artists  in  that  line  are 
as  rare  as  they  are  in  any  other,  and  the 
usual  effort  is  markedly  offensive  while 
it  lasts.  The  bad  taste  is  offset  only  by 
the  honest  theatrical  entertainment  pic- 
ture which  follows — and  sometimes  it 
continues  to  the  unfair  detriment  of  that. 

These  facts  are  all  well  known  and 
painfully  realized  by  most  of  the  leaders 
of  the  motion  picture  industry.  The  1910 
order  of  the  Patents  Company  that  adver- 


tising subjects  should  not  be  shown 
with  regular  programs  was  regarded 
commonly  as  merely  a  "General  Flimco" 
policy  maneuver;  but  it  was  in  reality 
an  expression  of  sound  merchandising 
wisdom.  Showmen  aplenty,  even  in  the 
Independent  ranks  then,  protested  re- 
ceiving advertising  films  from  the  ex- 
changes with  their  regular  releases.  Af- 
ter all,  the  conscientious  exhibitor  ex- 
pects to  remain  permanently  in  business, 
and  he  must  consider  his  public  relations 
— especially  as  they  have  bearing  on  his 
direct  profits — not  just  for  one  or  two 
performances  but  over  the  full  year. 

In  the  years  after  1910  the  use  of  ad- 
vertising films  in  the  theatres  increased 
again  until,  about  1916,  there  appeared 
in  the  press  numerous  reminders  of  the 
basic  truths.  In  June,  1916,  Robert 
H.  Cochrane,  of  Universal,  who  cer- 
tainly knew  something  about  the  ex- 
tent and  character  of  the  practice,  re- 
ported to  the  National  Association  of 
the  Motion  Picture  Industry  in  New 
York,  as  chairman  of  a  "trailer  com- 
mittee," that  at  a  recent  Chicago  con- 
vention the  proposition  to  show  adver- 
tising trailers  had  been  rejected.  Never- 
theless, those  present  voted  to  keep  the 
committee  in  power  with  the  idea  of 
carrying  out  the  plan  at  some  future  time. 
The  plan  actually  was  put  into  practice 
within  four  years,  notably  by  J.  Don 
Alexander. 

There  was  a  sharp  halt  in  1931,  in 
circumstances  involving  talking  pictures, 
and  then  the  practice  pyramided  again 
to  unprecedented  proportions,  using  trail- 
ers standardized  respectively  at  forty 
and  sixty  seconds  of  screen  time.  For  dis- 
tribution of  the  longer  advertising  sub- 
jects there  was  no  close  organization  of 
interested  companies  such  as  that  which 
handled  these  trailers.  Was  the  prece- 
dent set  by  the  Woman's  Screen  Guild 
the  answer  for  these  larger  ones,  or  did 
the  example  set  by  the  General  Electric 
Company  in  1927,  when  it  opened  the 
temporarily  closed  Center  Theatre  in 
New  York  and  presented  a  brilliant  ad- 
vertising show  free  of  charge,  point  the 
way?  The  General  Electric  Company 
stated  that  it  had  under  advisement  sim- 
ilar projects  in  many  other  "dark" 
theatres  of  the  country. 

Who  could  state  a  positive  answer  to 
this  ad  film  problem?  Who  but  Will  H. 
Hays,  president  of  the  Motion  Picture 
Producers  and  Distributors  of  America? 
That  was  the  thought  of  Fred  Wehren- 
berg,  president  of  the  Motion  Picture 
Theatre  Owners  of  America  in  St.  Louis, 
the  same  who  had  made  some  earlier  pro- 
tests against  non-theatricals.  In  December 
193S,  he  objected  to  the  incursions  of  ad- 
vertising in  the  regular  amusement  feat- 
ures, and,  indeed  Hollywood  was  known 


to  be  infested  with  agents  who  were 
forever  slipping  well-known  advertised 
articles  into  the  furnishings  of  studio 
sets.  Hays  replied  that  the  matter  would 
be  investigated  by  the  M.P.P.D.A.,  but 
pointed  out,  at  the  same  time,  that,  in 
simulating  the  daily  life  of  the  nation, 
it  was  not  always  possible  to  hide  the 
characteristic  forms  of  standard  products, 
of  automobiles,  for  instance.  The  subject 
was  taken  up  at  the  Hays  office  meeting, 
in  March,  1936,  and  again  at  an  ad- 
journed session  the  following  month.  At 
this  time  the  practice  was  definitely 
opposed.  But  in  the  matter  of  the  ad- 
vertising trailers,  apparently  no  action 
was   taken   or   even  contemplated. 

The  Hays  Committee 

If  one  were  writing  in  a  general 
magazine  and  spoke  of  the  "Will  Hays 
Committee,"  the  editor  would  doubtless 
insist  upon  making  the  reference  read, 
"the  M.P.P.D.A."  But  it  is  as  a  com- 
mittee that  the  non-theatrical  field  has  al- 
ways known  the  organization  best.  The 
M.P.P.D.A.  had  not  been  more  than  a 
few  months  in  existence  when  Hays 
appointed  a  large  body  of  public-spirited 
citizens  of  recognized  importance,  who 
variously  represented  the  outside  groups 
which  believed  that  they  should  have  a 
voice  in  the  preparation,  distribution  and 
exhibition  of  motion  pictures,  as  a  "Public 
Relations  Committee."  It  was  from  this 
that  the  non-theatrical  folk  came  to  call 
the  M.P.P.D.A.  by  the  name  which  is 
better  known  to  them  than  the  official 
designation.  The  avowed  purpose  of  the 
Committee  was  to  assist  the  M.P.P.D.A. 
in  development  of  the  industry  as  a  whole 
for  mutual  benefit  and  public  satisfaction. 

In  reality  the  theoretical  editor  would 
be  thoroughly  justified  in  his  wish  for 
precise  identification,  because  no  end  of 
ill  feeling  has  been  stirred  by  confusion 
of  the  two  aspects.  Among  non-thea- 
trical groups,  where  the  Committee  is  the 
recognizable  factor,  it  has  proved  dif- 
ficult to  understand  that  the  organiza- 
tion headed  by  Mr.  Hays  does  not  exist 
to  serve  exclusively  benevolent,  altruis- 
tic ends  outside  of  the  film  industry,  but 
that  the  prime  function  is  to  promote  the 
welfare  of  the  M.P.P.D.A.,  just  as  the 
moving  cause  of  the  Federation  of 
Churches  of  Christ  in  America  is  to  pro- 
mote the  aims  of  its  member  institu- 
tions. Much  confusion  has  arisen  also 
because  Hays  has  been  referred  to  fre- 
quently as  the  "czar  of  the  motion  pic- 
ture industry,"  for  there  has  developed 
a  corresponding  impression  that  he  has 
only  to  say  the  word  and  the  film  world 
will  do  his  bidding.  The  truth  is  that  he 
is  an  elective  officer,  and  his  "commands" 
are  mere  recommendations  voluntarily 
accepted    by    the    companies    which    are 


November,   1943 


Page   339 


associated  for  the  purpose  of  presenting 
a  united  front.  There  are  some  com- 
panies of  fair  importance  which  are  not 
members. 

From  the  time  of  the  Patents  wars 
there  had  been  efforts  to  form  and  main- 
tain theatrical  trade  associations,  more 
among  exhibitors  and  distributors  than 
among  producers.  Local  "film  clubs"  and 
motion  picture  boards  of  trade  were  es- 
tablished throughout  the  land,  and,  in 
1920,  the  Motion  Picture  Theatre  Owners 
of  .'\merica  was  set  up  as  the  national 
body,  with  many  State  organizations  af- 
filiated. In  the  widening  geographical 
interests  of  American  business  in  that 
period,  the  extending  lines  unobstructed 
by  frontiers  as  in  many  other  countries, 
industrial  protective  associations  .laturally 
arose  in  all  activities  and,  while  these 
steps  of  the  film  men  were  of  much 
practical  good  in  correcting  methods  of 
operation  and  lifting  ethical  standards, 
they  did  not  fully  meet  the  attacks  of 
other  groups  much  older  and  more  com- 
pactly united.  However,  the  attacks,  being 
made  with  such  concerted  power,  made 
the  film  men  painfully  conscious  of  their 
own  weaknesses  in  defense  machinery, 
and  they  sought  a  better  means  of 
mobilizing    their   forces. 

As  it  happened,  in  1920,  a  striking  ex- 
ample was  set  for  all  other  industries 
which  had  found  themselves  uncom- 
fortably in  the  public  eye.  Organized 
baseball  had  been  led  by  serious  criti- 
cism of  the  commercialization  of  popular 
sports  to  appoint  an  arbiter  of  its  own 
behavior.  Kenesaw  Mountain  Landis, 
distinguished  judge  in  the  U.S.  District 
Court  of  Northern  Illinois,  resigned  to 
become  commissioner  for  the  American 
and  National  Leagues  of  Professional 
Baseball  Clubs.  His  vigorous  handling 
of  his  new  duties  resulted  in  an  immediate 
correction  of  the  threatening  public  at- 
titude and  a  decided  improvement  of  base- 
hall   itself. 

American  film  men  took  this  salutary 
demonstration  as  a  useful  hint,  and  de- 
cided to  replace  their  own  impersonal 
committee  decisions  with  the  executive  acts 
of  a  recognized,  individual  head.  They 
might  just  as  well  have  profited  from  the 
example  of  our  native  form  of  Govern- 
ment. Many  celebrated  names  were  con- 
sidered for  this  responsible  place,  but 
the  choice  eventually  fell  upon  Will  H. 
Hays,  said  to  have  been  a  protege  of  that 
organization  genius,  the  Morgan  partner, 
George  W.  Perkins,  lie  had  been  Post- 
master-General of  the  United  States  and 
head  of  the  Republican  National  Com- 
mittee in  the  presidential  campaign  which 
placed  Warren  G.  Harding  in  office. 
Hays  resigned  his  high  Government  place 
to  become,  March  4,  1922,  president  of 
the  M.P.P.D.A.,  with  headquarters  in 
New  York  City.  The  incorporation 
papers  were  formally  completed  about  a 
week  later. 

The  problems  confronting  him  were  ex- 
traordinary and  extremely  difficult  of 
solution ;  but  he  managed  them  so  skill- 
fully that,  at  the  time  of  this  writing, 
lie  has  held  his  unenviable  post  by  acclaim 
of  the  majority  for  jj^enty-one  years, 
with  an  indefinite  further  number  in 
prospect.     The  chief  menace  to  the  film 


iridustry,  when  "General"  Hays  took  com- 
mand, was  in  an  impending  political 
censorship  of  all  motion  pictures — some- 
thing that  in  my  opinion  would  have 
been  as  disastrous  to  non-theatricals  as 
to  the  "professional"  theatre.  Enemies 
contended  that  scandals  in  private  lives  of 
a  few  motion  picture  stars  had  proved 
the  inability  of  the  motion  picture  to 
govern  itself,  and  called  upon  Congress 
to  take  over  the  responsibility.  The  first 
efforts  of  Hays  in  the  main,  therefore, 
were  to  avert  censorship.  While  it  was 
a  task  of  herculean  proportions,  he  could 
find  encouragement  in  the  calm  opinion 
of  most  thinking  .Americans  outside  the 
film  industry,  that  censorship  in  any 
national  form  would  be  a  major  catas- 
trophe, with  clergy  and  schoolmen 
among  the  most  agonized  sufferers. 


Will  Hays  works  for  the  theatrical 
motion  picture  industry.  He  serves 
the  non-theatrical  field  as  long  as 
its  activities  do  not  interfere. 
Surely   this   attitude    is   reasonable. 

In  1922,  time  of  the  approximate  start 
of  "the  visual  education  movement," 
Hays  was  to  be  found,  in  a  Boston  ad- 
dress, inviting  the  schoolmen  of  the 
country  to  benefit  from  the  waiting,  will- 
ing and  anxious  cooperation  of  theatrical 
producers  and  exhibitors.  A  year  later, 
at  the  Oakland,  California,  General  Ses- 
sions of  the  National  Education  Associa- 
tion, Charles  H.  Judd,  as  chairman  of 
a  special  committee  to  cooperate  with  the 
motion  picture  producers,  reported  that 
the  M.P.P.D.A.,  had  financed  a  meeting 
in  New  York  to  bring  the  committee 
into  direct  contact,  giving  said  com- 
mittee $5,000  with  which  to  conduct  a 
study.  Crandall,  of  the  New  York  City 
Schools,  selected  films  from  the  vaults  of 
the  producers  for  members  to  see  and  to 
choose  for  their  own  purposes ;  and  F. 
Dean  McClusky,  of  the  University  of  Illi- 
nois, Miss  A.  Loretta  Clark,  of  the  Los 
.Angeles  public  school  system,  and  Charles 
Roach,  of  the  extension  division  of  the 
University  of  Iowa,  were  sent  to  visit 
forty-two  schools,  universities  and  mu- 
seums where  "educational"  films  were  em- 
ployed.     The    report   then   presented  by 


Dr.  Judd  at  the  General   Sessions   was 
that : 

1.  Fire  risks  observed  call  for  leg- 
islation; 

2.  The  next  succeeding  committee 
must  not  attempt  censorship  or  ap- 
prove  any   projector  or   film; 

3.  Experiment  and  research  must 
be  undertaken; 

4.  Entertainment  films  must  be  in- 
vestigated in  their  relation  to  cla.ss 
work;  and, 

5.  It  is  certain  that  only  meager 
information  is  available  now. 

The  next  succeeding  committee  ap- 
parently did  not  hew  to  the  line  despite 
the  admonitions  given,  for,  at  the  San 
Francisco  meeting  of  the  National  Coun- 
cil of  Education,  the  spokesman  delivered 
a  violent  attack  on  the  motion  picture 
producers.  This  seems  to  have  squashed 
further  development ;  and  one  must  look 
for  a  report  entitled  "A  Last  Word," 
published  in  the  Journal  of  the  National 
Education  Association  in  1925,  to  see  the 
official  end  of  it.  However,  the  work  of 
the  teachers  interested  in  communicating 
their  "visual  education"  experiences  to 
fellow  members  went  on  and  flourished 
regardless,  one  might  say,  of  either  the 
Hays   Office  or  the   N.E.A. 

Skirmishes  with  exhibitors  in  various 
parts  of  the  country  had  put  many  ex- 
cellent organizations  in  a  hostile  frame 
of  mind  and,  while  their  leaders  declared 
a  short  truce  when  Hays  was  placed  at 
the  head  of  the  M.P.P.D.A.  to  see  what 
he  might  do,  it  was  maintained  in  a  state 
of  cold  distrust.  When  it  was  then  dis- 
covered that  Hays  would  not  commit 
himself  wholly  to  their  views  of  the 
situation,  they  poured  their  vials  of  wrath 
on  him  as  the  visible  head  of  a  supposedly 
outlaw  industry. 

One  of  the  most  militant  attackers 
was  Mrs.  Charles  E.  Merriam,  of  Chi- 
cago, chairman  of  the  Better  Films  Com- 
mittee of  the  National  Congress  of 
Parents  and  Teachers.  In  that  position 
she  had  long  condemned  professional 
producers  for  their  manufacture  of  al- 
legedly salacious  pictures.  In  June,  1924, 
w  hen  she  resigned  to  become  head  of  the 
newly  organized  Film  Councils  of 
-America,  which  was  to  have  broader 
scope  in  ticketing  recommended  films  for 
various  age  levels,  she  continued  her 
charges  and  insinuations.  In  an  opening 
announcement  of  her  Film  Councils  she 
said  in  small  part : 

The  one  thing  we  may  be  sure  of 
now  is  that  no  one  connected  in 
any  way  with  the  motion  picture  in- 
dustry is  in  our  organization.  The 
game  of  the  producers  has  been  to 
put  some  of  their  paid  workers  into 
every  organization  which  has  opposed 
them  at  all  and  then  to  create  a  feel- 
ing of  distrust  among  the  other 
workers.  It  has  been  tragic  to  see 
how  the  industry  has  been  able  to 
put  into  places  of  responsibility,  es- 
pecially into  the  departments  controll- 
ing motion  picture  action,  the  wives 
of  attorneys  for  the  industry  and 
others  who  could  be  relied  upon  to 
do  their  bidding.  .  .  .  The  industry 
realizes  that  the  movie  theatre  is  the 
poor  man's  club,  and  if  its  backers 
are  interested  in  drawing  the  poor 
man's  sons  and  daughters  into  lives 
of  vice  and  crime,  there  is  no  easier 
way  to  do  it  than  to  portray  to  them 
constantly    such    scenes   as   they   are 


/page  340 


The  Educational  Screen 


/  now  portraying.     The  situation  is  so 

/  serious  that  no  matter  how  busy  we 

are  with  other  things  we  should  all 

take  time  to  enlist  in  this   field  and 

stop  further  exploitation. 

January  15,  1925.  at  the  National 
Motion  Picture  Conference  in  Washing- 
ton, appeared  another  enemy  crusader, 
Mrs.  Catheryne  Cooke-Gilman,  executive 
secretary  of  the  Women's  Cooperative 
Alliance  of  Minneapolis,  demanding  the 
passage  of  the  Upshaw  Bill,  then  be- 
fore Congress,  providing  for  federal  con- 
trol of  motion  picture  production.  In 
May  of  the  same  year,  Mary  R.  Cald- 
well took  up  the  cudgels  for  Mrs.  Mer- 
riam's  Film  Councils  of  America — of 
which,  by  the  way,  F.  Dean  McCIusky, 
who  later  prepared  a  survey  for  the 
M.P.P.D.A.,  was  vice-president — and 
continued  the  personal  belaboring  of 
Hays.  In  November,  Dr.  Charles  Scan- 
Ian,  president  of  the  Motion  Picture 
Council  in  America,  Inc.,  issued  a  pamph- 
let entitled  Motion  Pictures  charging 
that  the  Hays  Public  Relations  Com- 
mittee was  simply  a  hoax  to  deceive  the 
public,  and  attacking  too,  the  useful, 
unexcitable  National  Board  of  Review  as 
a  creature  of  the  "film  trust." 

In  these  trying  circumstances  the 
tactics  of  Hays  were  principally  concil- 
iatory. In  the  manner  of  international 
diplomats  he  has  tried  manfully  to  keep 
the  peace,  using  the  time  thus  gained  to 
strengthen  the  industry — to  develop  power 
within  it,  too,  for  constructive  public 
service,  because  Hays,  in  common  with 
other  distinguished  public  relations  coun- 
sels, knows  full  well  that  useful  service 
is  also  good  business. 

But,  in  justice  to  Will  Hays  as  to  the 
non-theatrical  field  and  from  the  view- 
point of  this  history,  it  must  be  borne 
in  mind  that  he  is  the  paid  servant  of 
the  professional  motion  picture  men  and 
must  serve  their  immediate  legitimate 
interests  first.  It  should  be  understood, 
too,  that  he  is  not  the  ofiicial  spokes- 
man for  the  entire  professional  industry, 
but  for  that  large  portion  of  it  which 
is  represented  by  the  major  companies 
(and  a  few  lesser  ones)  which  are  mem- 
bers of  his  Association.  Even  among 
those  there  are  dissenters  to  his  opinion. 
Many  objectives  which  he  personally 
would  like  to  see  reached,  may  not  be 
achieved  without  practical  support  of 
those  for  whom  he  presumably  speaks. 
The  methods  he  employs  are  those  of  any 
able  chief  who  realizes  that  to  gain  even 
worthy  ends,  it  is  necessary  to  make  some 
enemies,  try  as  he  will  to  avoid  needless 
antagonisms.  And  it  must  not  be  for- 
gotten, either,  that  if  Hays  has  tem- 
porized with  non-theatrical  leaders,  it 
has  frequently  been  charged  also,  that, 
when  theatrical  leaders  have  complained 
to  him  of  non-theatrical  competition,  he 
has  tabled  their  demands  for  punitive 
action.  His  purpose  in  offering  the  as- 
sistance of  his  office  in  the  launching  of 
any  considerable  non-theatrical  enterprise 
is  undoubtedly  to  guide  its  course  so  as 
not  to  interfere  with  the  normal  opera- 
tion of  the  theatrical  industry;  but  there 
has  been  no  concealment  of  that  motive, 
and  assuredly  no  reason  why  its  pursuit 


should  mean  the  suppression  of  non- 
theatricals.  There  are  many  reasons, 
moreover,  why  his  advice  and  practical 
help  should  be  of  great  value  to  those 
who  avail  themselves  of  his  offers  and 
who  know  how  to  utilize  the  benefits  with- 
out throwing  so  undeservedly  upon  Hays 
the  full  responsibility  for  their  own  prob- 
lems. 

Earlier  pages  have  sketched  all  but 
one  of  the  principal  contacts  of  the 
M.P.P.D.A.  and  the  non-theatrical  field 
One  more — what  the  Hays  Office  did  to 
assist  the  National  Education  Associa- 
tion in  the  fourth  decade  of  the  century 
— is  reserved  for  later  mention.  In  the 
Hays  Office's  own  recital  of  such  achieve- 
ments, its  representatives  grow  pardon- 
ably boastful  about  the  measure  of  its 
cooperation  with  the  Harmon  Foun- 
dation and  the  Eastman  Teaching  Films 
including  the  pictures  for  the  American 
College  of  Surgeons.  They  have  im- 
plied, also,  a  moving  part  in  the  Chroni- 
cles of  America  Picture  Corporation : 
but  that  suggestion  has  usually  come 
from  those  who  know  the  facts  scantily 
and  from  hearsay.  The  Chronicles  of 
America  Corporation  had  been  in  prep- 
aration nearly  three  years  before  the 
M.P.P.D.A.  was  organized. 

When  the  Chronicles  of  America 
formally  opened  its  own  offices  in  1921. 
it  was  in  the  same  lately-remodeled  build- 
ing at  522  Fifth  Avenue  in  which  the 
M.P.P.D.A.  began.  We  were  already 
established  at  that  address  while  the  im- 
posing second  floor  suite  with  its  wide 
marble  staircase  was  being  made  ready 
for  Will  Hays  and  his  staff^a  place 
so  very  imposing  that  he  presently  moved 
away  from  it  as  too  dangerous  in  its 
grandeur.  But,  during  the  original  ten- 
ancy of  Hays,  Robert  MacAlarney,  of  the 
Chronicles  of  America  Picture  Corpora- 
tion, went  downstairs  one  day  and  told 
Ralph  Hayes,  of  the  Will  Hays  staff, 
about  the  intended  Yale  historical  pic- 
tures. 

In  most  cases  the  credit  claimed  by 
the  organization  has  been  explicit  and 
modest.  It  has  been  interesting  to  see 
how  successfully  the  Hays  policy  has 
kept  responsibility  for  what  has  been 
done  in  the  hands  of  the  non-theatrical 
groups  which  have  contacted  the 
M.P.P.D.A.  Excellent  confirmation  of 
these  facts  is  in  the  Report  of  the  Com- 
mittee on  the  Use  of  Motion  Pictures 
for  Religious  Education  issued  at  Bos- 
ton in  1930  and  already  discussed.  Similar 
cautiousness  was  evinced  in  the  arrange- 
ments for  the  Eastman  Teaching  Films, 
with  the  Kodak  Company  also  leaning 
backward  to  place  the  facilities  at  the  dis- 
posal of  those  who  are  presumed  to  know 
how  to  use  them  to  further  the  given 
especial  ends,  that  unhappy  results  might 
be  nobody's  fault  but  theirs. 

In  non-theatrical  issues  the  M.P.P.D.A. 
never  appears  outwardly  on  the  defensive. 
Its  efforts  in  any  state  of  siege  seem 
mainly  to  uncover  facts  which  by  simple 
statement  will  render  further  attacks 
senseless,  and  such  statement  to  be  made 
then  only  as  a  last  resort.  The  handling 
of  the   Rev.   Reid   Andrews   matter   was 


an  illustration  of  that.  Non-theatrical  sur- 
veys undertaken  on  the  Hays  Office's 
own  initiative  have  tended  only  to  make 
useful  information  available.  They  have 
been  employed  to  promote  good  feeling 
by  establishing  the  theatrical  industry's 
right  to  be  respected  by  the  public  at 
large.  The  specimen  called  to  witness 
here  is  the  published  report  of  the 
.Amount  of  Gratis  Film  Furnished  In- 
stitutions by  Film  Boards  of  Trade  in 
the  United  States  During  1928.  This 
interesting  document,  with  strong  impli- 
cations which  the  reader  will  recognize 
promptly  from  the  title,  gave  elaborate 
statistics,  broken  down  in  many  illumin- 
ating ways.  It  ■  told  of  free  shows 
furnished  to  736  institutions,  such  as 
hospitals,  asylums,  prisons  and  sani- 
tariums, in  thirty-two  leading  cities 
from  Coast  to  Coast,  and  involving  28,- 
456  separate  pictures,  with  an  approxi- 
mate total  rental  value  of  $310,870.72. 

Despite  the  strong  non-theatrical  in- 
terest of  Ralph  Hayes,  he  was  with  the 
organization  too  briefly  for  non-theatri- 
cal folk  to  become  well  acquainted  with 
him.  They  saw  more  of  Col.  Jason  S. 
Joy  in  the  early  days.  Col.  Joy — given 
his  rank  in  the  Officers'  Reserve  Corps 
in  1920  after  his  war  service — was  the 
son  of  a  well-known  clergyman.  For  two 
years  before  joining  the  M.P.P.D.A.  as 
director  of  public  relations,  he  had  been 
executive  secretary  of  the  American  Red 
Cross.  In  the  Hays  connection,  where 
I  knew  him  slightly,  he  was  in  complete 
readiness  to  assist  any  non-theatrical 
venture  which  had  legitimate  claim  to  his 
attention.  He  set  many  admirable  pre- 
cedents in  the  work  of  the  organization, 
and  is  especially  to  be  remembered  as 
the  executive  secretary  of  the  Committee 
on  Public  Relations,  carrying  on  its 
activities  between  its  semiannual  meet- 
ings. In  1926  he  removed  to  Los  Angeles 
to  take  charge  of  a  new  department  of 
studio  relations,  giving  excellent  service 
there  also  until  December.  1932,  when 
he  became  associated  with  Fox  Films  as 
a  "censorship"  expert. 

(To  be  eontlnverf) 


November,   194} 


Page  341 


^liE  J^iisixaiuxE  in  ^  l/iiuaL  Unitzuation 


A    Monthly    Digest 


ETTA  SCHNEIDER  RESS,  Editor 

New  York  University  Film  Library 


ADMINISTRATION 

Films  Help  the  War  Effort— \'incent  McGarrett,  Andrew 

Jackson   High    School.    New   York   Chy—High  Points,  25: 

45-50  September,   1943. 

A  description  of  tlie  use  of  35mm.  sound  films  in  a  large,  new 
city  high  school   building  where  no   16mm.  equipment     exists. 

Films  are  shown  only  in  th;  auditorium,  cither  as  an  as- 
sembly-type program  or  for  individual  classes.  Where  films 
are  related  to  curriculum  problems,  one  or  more  classes  go  to 
the  auditorium,  questions  are  announced  to  the  students  before 
the  film,  and  a  recitation  on  the  film  is  later  made  over  the 
public-address  system.  This  procedure  is  approved  by  pupils 
and  by  teachers. 

Feature-length  films  present  a  problem  because  of  their 
length.  They  may  be  shown  in  parts  over  a  few  periods,  but 
are  always  repeated  in  full  at  the  end  of  the  day  for  those 
who  have   missed  them. 

Plan    Buildings    for    Visual    Aids — Ellsworth    C.    Dent — 

AiiiericaH  School  Board  Journal,  107:42  September,  1943. 

-Architects  and  school  administrators  should  look  ahead  to 
the  building  program  after  the  war.  Definite  provisions 
should  be  made  for  the  use  of  projected  aids  in  each  classroom, 
and  this  article  indicates  some  of  the  important  features.  Elec- 
trical outlets  should  be  installed  at  the  front  and  at  the  back 
of  the  classroom,  with  care  in  determining  the  electrical  power 
output  so  that  projection  is  possible.  Ventilation  and  darken- 
ing conditions  should  be  explored  to  provide  good  ventilation 
during  projection.  There  should  be  a  moulding  in  a  convenient 
place  to  permit  the  hanging  of  a  roller-type  screen.  Dealers 
in  projection  equipment  should  be  consulted  for  advice  on  class- 
room design. 

A  Sound  Film  Program  in  a  Small  System — John  Lester 

DcBeer,  Glen  Ridge,  N.  J. — School  Executive  63:29  October, 

1943. 

The  director  of  audio-visual  aids  is  a  teacher  with  a  full 
teaching  load,  but  released  from  certain  other  duties.  First 
a  survey  was  made  of  all  equipment  and  materials  owned 
by  the  schools.  The  single  sound  projector  was  allocated  to 
the  high  school  three  days  a  week,  and  to  each  of  the  four 
elementary  schools  two  days  a  month.  The  parents'  association 
of  two  elementary  schools  has  provided  two  additional  sound 
projectors.  An  interested  teacher  in  each  school  is  in  charge 
of  routing  and  requisitioning.  In  addition  to  the  57  reels  of 
silent  films  owned  by  the  school  system,  three  neighboring 
distributing  libraries  were  drawn  upon.  The  catalogs  of 
these  libraries  were  placed  in  all  schools  and  films  could  be 
ordered  from  the  director. 

.Another  phase  of  the  audio-visual  program  in  Glen  Ridge 
has  been  the  service  rendered  among  various  community  organi- 
zations showing  films.  The  local  OCD,  Red  Cross  and  church 
groups   were   among   the  agencies   served. 

Visual  Education:  Organization  of  the  Visual  Education 
Program — Francis  M.  McKinney,  Placer  Union  High 
School,  Auburn,  Calif. — Sierra  Educational  News  October, 
1943  p.  12. 

This  teacher  of  radio  and  electricity  has  worked  out  a 
s>stem  of  organization  that  minimizes  the  amount  of  work 
done  by  the  individual  teacher.  Squads  of  student  operators 
are  available  and  projection  is  done  from  a  special  room  to 
wliich  classes  go.  A  group  of  forms  are  given  in  the  article 
to  show  the  nature  of  the  service  and  the  kind  of  information 
kept   in  the   files   for   future   reference. 

There  is  a  list  of  all  films  found  useful  during  the  last  year. 


LIBRARIES  AND  VISUAL  AIDS 

Film   Forums  in   Libraries — Mary   E.   Townes — Adult   Edu- 
cation Journal,  2:186  October,   1943. 

This  is  an  abstract  of  a  longer  report  available  from  the 
American  Library  Association,  520  North  Michigan  Ave.  Chi- 
cago, Illinois.  The  Film  Forums  Project  was  a  significant 
study  carried  on  by  a  Joint  Committee  under  a  grant  from  the 
Carnegie  Foundation.  It  was  an  attempt  to  ascertain  the  ex- 
tent to  which  films  could  be  used  to  promote  discussion  and 
stimulate  reading  among  adults  in  public  libraries.  From 
February,  1941  to  June,  1943  nearly  300  film  forums  were  held 
in  40  public  libraries  throughout  the  nation. 

This  article  describes  the  result  of  reports  submitted  by 
librarians  after  each  meeting.  Over  a  hundred  libraries 
have  already  expressed  themselves  as  planning  to  use  films  for 
discussion  in  the  future.  Readers  are  refrred  to  this  abstract 
of  the  report  or  to  the  report  itself  for  further  information  and 
evidence  to  prove  the  contention  of  Miss  Townes,  executive 
secretary  of  the  Joint  Committee  on  Film  Forums,  that  "film 
forums  are  here  to  stay." 

MAPS 

Developing    Map    Reading   Skills    for    Global   Emphasis — 

Kenneth  A.  Fuller,  Lockport,  N.  Y. — Journal  of  Ccogral>hy, 

42:216  September,   1943. 

The  good  and  weak  points  of  the  polar  projection  are  in- 
dicated, and  the  article  gives  ii  test  questions  on  subject 
matter  that  can  be  learned  from  the  use  of  the  polar  pro- 
jection. 

Map  Reading — Elaine  Forsyth,  New  York  State  College  for 

Teachers,    Albany — Journal   of   Geography,   42:249   October, 

1943. 

A  series  of  lessons  giving  explanatory  material  to  assist 
an  upper  elementary  and  junior  high  pupil  in  improving  his 
map  reading  ability.  The  illustrative  lessons  are  reprinted  in 
the    article,    with    appropriate    illustrations. 

These  lessons  have  been  used  with  excellent  results  under 
experimental  conditions  in  three  junior  high  schools. 

Maps:   How  to   Make   Them   and   Read    Them:    .\   biblio- 
grapiiy — Walter   W.    Ristow,    New    York    Public    Library — 
Journal  of  Geography,  42 :258   October,   1943. 
An  intensive  bibliography  on  every  aspect  of  map  making : 

national  surveys,   military  maps,  aerial  maps,   relief  maps  and 

so  on. 

Flat  Maps  Are  Not  Enough — J.  R.  Whitaker.  George  Pea- 
body    College,    Nashville,    Tenn., — Nation's    Schools,    32:46 

October,   1943. 
No  map,  not  even  the  currently  popular  Polar  Map,  can  do 

the  whole  job.     A  globe  is  needed  to  supplement. 

LANTERN  SLIDES 

Getting  Results  with  the   Stereopticon — Anderson   Grain — 

Church  Management,  19:32  September,  1943. 

One  reason  why  the  stereopticon  has  not  been  popular  in 
church  meetings  is  that  the  equipment  was  not  used  with 
maximum  effectiveness.  The  projector  should  be  in  good 
condition,  with  adequate  illumination  for  the  room  and  size 
of  screen;  projection  should  be  done  on  a  clean,  white  surface 
preferably  a  standard  screen  of  suitable  size.  The  room  in 
which  slides  are  shown  need  not  be  totally  dark. 

Other  showmanship  hints  involve  keeping  the  projector 
steady  while  changing  or  adjusting  slides  and  in  many  other 
ways  trying  to  achieve  smooth  projection. 


page   342 


The  Educational  Screen 


/  RADIO 

Radio   Appreciation:   A  Plea  and  a  Program — Samuel  G. 

Gilburt,    Straus    Junior    High    School,    New    York    City — 

English  Journal,  32:431  October,  1943. 

Radio  appreciation  lags  far  behind  motion  picture  apprecia- 
tion, especially  below  the  secondary  level.  It  is  suggested 
that  this  be  made  part  of  the  club  work  in  the  junior  high 
school.  A  program  that  was  successful  with  9th  grade  students 
is  indicated  in  the  article,  showing  the  various  topics  covered 
in  the  radio  appreciation  course. 

Radio  Classes  in  High  School  Wartime  Program — Cyretta 
Morford,  Detroit — Quarterly  Journal  of  Speech,  29:283 
October,    1943. 

A  discussion  of  the  need  for  courses  in  high  school  in  radio 
broadcasting  techniques.  Suggested  activities  and  methods  are 
given  in  the  article,  together  with  a  bibliography. 

Educational  Broadcasting  after  the  War — George  S.  McCue, 
Colorado     College — Quarterly    Journal    of    Speech,    29:294 
October,   1943. 
Colleges  should  do  more  educating  by  radio  after  the  war. 

Such  use  of  radio  would  have  four  cardinal  principles : 

1.  It  would  be  planned  over  a  period  of  months,  not  spas- 
modically. 

2.  It  would  tie  up  subjects  with  one  another 

3.  Education  by  radio  would  involve  audience  participation, 
such  as  follow  up  reading  and  listening  aids 

4.  Radio  courses  would  be  given  by  those  who  know  radio 
technique 

The  Rocky  Mountain  Radio  Council  has  already  been  organ- 
ized to  try  to  integrate  and  improve  the  educational  broadcast- 
ing activities  of  the  colleges  of  that  region. 

UTILIZATION 

Audio- Visual  Materials  Tried  and  True — Elizabeth  Goudy 
and  Lt.  Francis  W.  Noel — Business  Education  World,  24:68 
October,  1943. 

Some  of  the  principles  underlying  the  use  of  a  variety 
of  audio-visual  aids,  with  suggested  sources  and  titles  of  suit- 
able films  in  business  education.  The  instructor  should  have 
a  definite  purpose  in  using  a  visual  aid,  and  should  not  limit 
himself  to  any  one  to  the  exclusion  of  others.  The  possibili- 
ties of  using  films,  lantern  slides,  filmstrips,  opaque  materials, 
charts  and  graphs,  models,  recordings  and  radio,  field  trips 
and  special  training  devices  are  reviewed.  This  article  is  to  be 
followed  by  another  on  specific  methods  and  problems. 

PRODUCTION 

Problems  in  the  Production  of  U.  S.  Navy  Training  Films — 

Orville  Goldner,  Lt.  USN,  Head  of  Training  Film  Branch, 

Photographic    Division — Journal   of   the   Society   of   Motion 

Picture  Engineers,  41 :146  August,  1943. 
.An  address   presented  at   the   1943    Spring   Meeting  of  the 
S.M.P.E.  at   New  York   City,   describing  the  organization  of 
the  Training  Film  Branch  and  the  scope  of  its  job. 

As  a  result  of  a  directive  issued  by  the  Secretary  of  the 
Navy,  the  Branch  was  established  in  1941  to  produce  slide- 
films  and  motion  pictures  for  the  Navy  under  the  supervision 
of  the  Chief  of  the  Bureau  of  Aeronautics.  Since  its  organi- 
zation, the  total  number  of  projects  completed  is  1692.  In 
production  are  1296  projects,  of  which  850  are  slide-films  and 
446  are  motion  pictures. 

The  training  films  the  Navy  makes  have  been  designed 
to  be  used  in  classrooms  at  the  time  in  the  course  when  they 
will  help  the  instructor  to  standardize  operations  and  make 
ideas  clear  to  his  students.  A  project  supervisor  and  an  edu- 
cational consultant  work  with  the  technical  advisor  in  outlining 
and  producing  each  film.  Before  the  film  is  put  in  production, 
there  are  many  questions  to  be  considered  if  effective  training 
aids  are  to  result.  Special  emphasis  is  given  to  types  of  re- 
search, pre-planning,  and  script  writing.  The  difficulties  that  re- 
sult from  undertaking  an  extensive  training  film  production 
program  under  wartime  conditions  are  presented  briefly. 


PHOTOGRAPHY 

The  Practical  Use  of  Kodachrome  Film— Dr.  Ralph  B.  De- 
Lano,  Boston — School  Science  and  Mathematics,  43 :669 
October,   1943. 

The  address  given  at  a  meeting  of  the  Eastern  .■\ssocia- 
tion  of  Physics  Teachers  includes  many  suggestions  for  taking 
pictures  that  would  help  to  build  up  a  file  of  high  quality 
visual  aids  for  the  teacher  of  science.  The  author  used  70 
slides   to  illustrate  the   address. 

PERIODICALS 

Our  Neighbors  in  North  Africa.  Building  America,  vol.  9, 
no  1.  October,  1943.  30c;  $2.25  annual  subscription. 
This  issue  gives  the  background  for  understanding  the 
stakes  involved  in  the  battle  over  Africa,  and  especially  North 
Africa.  There  is  a  review  of  the  fighting  in  North  Africa 
between  Rommel  and  the  Nazi  troops  and  the  combined  British, 
French  and  American  Allied  troops.  Then  there  follow  a  his- 
tory of  the  continent  in  terms  of  colonial  expansion;  an  under- 
standing of  the  peoples  of  Africa ;  the  story  of  Egypt,  politically 
independent ;  French  North  Africa ;  and  finally,  the  foreign 
policy  involved  in  America's  dealings  with  the  French  elements 
there.  Excellent  photographs  and  concise  text  tell  this  timely 
and   significant    story. 

Audio- Visual  Teaching  Aids  are  Essential! — I.  Keith  Tyler 
— Educational  Leadership ,  1  :S5  October,  1943. 
This  is  the  first  article  in  the  series  that  will  appear  monthly 
under  the  heading,  "Tools  for  Learning."  The  topic  for  Oct- 
ober was  audio-visual  aids,  and  each  month  an  important  aspect 
of  education  will  be  considered  as  tools  for  learning. 

SOURCES  OF  INFORMATION 

The    New — in    Review: — Alice     Miel,    editor — Educational 
Leadership,    monthly    issues    beginning   October,    1943. 
This    is   the   new   publication   of   the   combined    Department 
of    Supervisors    and    Directors    of    Instruction    of   the    N.E.A. 
and   the    Society    for   Curriculum    Study.       Various    types    of 
educational    aids    are    reviewed    monthly,    including    films,    re- 
cordings and  other  audio-visual  materials. 
Let's  Help  You  Find  It:   Films  for  Classroom  Use — Mar- 
garet Kneerim,   New   York  University   Film   Library — Pro- 
gressive Education,  20:259  October,   1943. 
A  list  of  recommended  films  with  suggestions  for  use,  with 
groups   of   fifth   grade   up    in   the    elementary    and    secondary 
schools,   and   with   adult   groups  as   Parent-Teachers   Associa- 
tions. 

Safety  Films:   Revised    May    1,    1943 — Traffic    Engineering 

and  Safety   Department,   American  Automobile   Association, 

Washington,  D.  C.  21  pp.  mimeo. 

A  bibliography  of  traffic  safety  motion  pictures  (sound  and 
silent)  and  soundslide  films  compiled  particularly  to  serve 
schools  and  clubs.  The  films  are  listed  under  two  classifica- 
tions :  for  the  elementary  level,  for  high  school  and  adults. 
They  are  further  classified  in  the  latter  group  under  pedes- 
trian safety,   driver  training,   and   general. 

Information  is  given  on  each  film  and  sound-slide  as  to  con- 
tents, type  of  film  stock,  length,  price,  and  source. 

The  Other  Americas  through  Films  and  Records:  Revised 

June,  1943 — Prepared  by  the  Motion  Picture  Project  of  the 

American  Council  of   Education  with  the  assistance  of  the 

Pan  American  Union,  Washington,  D.C.  48  pp.   (printed) 

The  first  edition  of  this  listing  was  published  in  the  spring 

of  1942.     Since  then  there  has  been  released  a  large  number 

of  additional  films  contributing  to  a  better  understanding  of  the 

other    Americas.       This    revision    includes    more    than    twenty 

of  these  motion  pictures. 

The  films  are  listed  in  alphabetical  order  and  coded  on  the 
basis  of  the  school  levels  at  which  they  are  most  appropriate. 
For  the  most  part,  they  are  suitable  for  use  in  units  of  study 
at  the  elementary  levels.  Many,  however,  are  suitable  for  show- 
ing to  adult  groups.  Each  subject  is  described  and  evaluated, 
with  date  of  production  indicated.  An  inde.x  by  countries  is  a 
good  feature.  Film  and  record  sources  are  given  in  the  Ap- 
pendix. 


November,  1943 


Page  343 


The  Visual  Idea  at  Work  in  War 


(Below)  During  the  filming  of  "First  Motion  Picture  Unit",  the 
story  of  how  training  films  are  made  at  the  Army  Air  Forces 
First  Motion  Picture  Unit,  a  camera  catches  a  photographic 
crew    making    a    scene   for   the   film   "Bombardier-Navigator." 

Official   Photograph  First  Motion    Picture  Unit 


(Above)  Interior  of  new  mobile  sound  record- 
ing studio  developed  by  engineers  of  Radio 
Corporation  of  America.  All  facilities  are 
compactly  and  conveniently  installed.  They 
include  a  recorder,  motor  generator,  B-voltage 
dyna  motor,  cable  reels,  amplifier,  mixing 
panel,  monitor  speakers,  storage  batteries. 
The  cabinet  at  right  contains  a  dark  chamber 
for  loading  film.  Units  of  this  type  have  been 
supplied  to  the  U.  S.  Navy,  and  one  is  now 
under  construction  for  the   Army  Air    Force. 


(Right)  One  of  the  activities  shown  in  the 
film  on  "ABCA",  released  by  the  British 
Information  Services,  describing  the  educa- 
tional plan  developed  by  the  Army  Bureau 
of  Current  Affairs  in  England.  The  purpose 
of  this  organization  is  to  keep  soldiers  in- 
formed on  vital  issues  of  the  day  by  pro- 
viding weekly  instruction  and  discussion 
periods.  Officers  give  a  brief  outline  of 
the  subject  and  lead  the  following  group 
discussion.  "Current  Affairs  Rooms"  have 
been  established  in  some  camps,  equipped 
with  maps,  charts,  newspapers,  and  refer- 
ence books. 


National  Film  Board  Photo 

(Left)  A  scene  from  "Road  to  Tokyo,"  one  of  the 
Canadian  documentary  films  selected  for  television 
by  radio  networks  in  the  United  States.  The  photo 
shows  a  truck  on  the  Alcan  Highway  at  the  Duke 
River — one  of  the  greatest  problems  on  the  wholn 
stretch  of  the  highway.  The  water  shown  here  is 
from  glacier  streams.  It  is  actually  running  over  a 
solid  bed  of  ice  and  under  a  top  surface  of  ice 
which  breaks  through  when  the  trucks  pass  over  it. 


Page   344 


The  Educational  Screen 


SCHOOL  MADE  MOTION  PICTURES 


HARDY    R.    FINCH.   Editor 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 


Film  story  of  Michigan  School 

Movie  Makers  magazine  reports,  in  its  September 
issue,  a  student-made  film  entitled  Education  for  Free- 
dom. The  film  was  made  by  Nistor  Potcova,  a  stud- 
ent at  the  Monroe  High  School,  Monroe,  Michigan, 
who  completed  it  as  a  summary  of  his  school's  activi- 
ties. The  16mm.  black  and  white  film  is  760  feet  in 
length. 

Designed  primarily  to  acquaint  new  students  with 
the  activities  of  Monroe  High  school,  Education  for 
Freedom  has  many  scenes  from  actual  sports  events. 
Many  other  sequences  of  the  film  were  planned  and 
rehearsed.  To  insure  the  identification  of  students  in 
the  film,  young  Potcova  filmed  individuals  carefully. 
Some  four  hundred  students  were  able  to  recognize 
themselves  in  various  sequences. 

Film  showings  are  accompanied  by  a  narrator  who 
spoke  over  the  school  public  address  system,  and  a 
supplemental  background  of  musical  selections  is  sup- 
plied by  records.  Titles  for  the  picture  were  printed 
by  the  school  press.  Tom  Martin  and  Bill  Dusablon, 
fellow  students,  helped  with  the  planning  of  scenes  and 
the  lighting  arrangements. 

Courses  in  Film  Production 

The  Institute  of  Film  Techniques  of  the  College  of 
the  City  of  New  York  is  beginning  its  third  season. 
Because  of  war  demands,  the  Institute  will  devote  its 
efforts  solely  to  courses  in  film  production. 

The  Institute  offers  lecture  and  workshop  courses 
emphasizing  the  immediate  preparation  of  technicians 
for  documentary,  educational,  war  information,  and 
war  training  films.  One  of  the  courses,  Fundamentals 
of  Film  Production,  which  gives  the  practical  aspects 
of  documentary  film  production  from  script  to  show- 
print,  includes  budget  planning,  treatment,  scenario 
direction,  etc.  In  Experimental  Studio,  a  workshop 
course,  students  will  make  a  film.  Other  courses  are 
offered  in  Film  Writing,  Motion  Picture  Photography, 
Sound  Recording,  and  Film  Editing. 

Insurance  oi  Equipment 

Duncan  MacD.  Little,  well-known  amateur  film 
maker  and  organizer  of  the  annual  Film  Party  at  which 
outstanding  amateur  films  are  shown,  advises  owners 
of  expensive  cameras  to  insure  their  equipment.  He 
recommends  that  they  obtain  an  all-risk  camera  floater 
policy  that  affords  broad  protection  against  loss  or 
damage  of  practically  any  nature.  The  rate  is  two 
percent  of  the  value ;  the  minimum  premium,  five  dol- 
lars. Mr.  Little  is  willing  to  answer  further  questions 
about  this  insurance.  His  address  is  80  Maiden  Lane, 
New  York  City. 


IVitfi  a  question  box  on  the  making  of 
school  film  productions,  conducted  by 

DONALD  A.  ELDRIDGE, 
Wesleyan  University,  Middletown,  Conn. 


Yearbook  Recognizes  Value  oi  Public  Relations  Films 

"Today's  Techniques,"  (Ann  Arbor  Press,  .Ann 
Arbor,  Mich..  1943).  the  First  Yearbook  of  the  School 
Public  Relations  Association  of  the  National  Educa- 
tion Association  which  presents,  in  lucid  .style,  ways  of 
publicizing  education,  devotes  four  of  its  259  pages 
to  the  making  of  school  films. 

B.  I.  Griffith,  Director  of  Public  Relations  of  the 
Illinois  Education  Association,  in  his  chapter  entitled 
"Filming  the  Facts,"  advises  schools  to  use  16  mm. 
film  and  to  plan  the  public  relations  film  carefully  be- 
fore shooting  any  scenes. 

In  discussing  the  making  of  sound  films,  Mr.  Grif- 
fith describes  the  making  of  the  Illinois  Education 
Association's  film.  Backing  Up  the  Guns.  This  fif- 
teen-minute sound  picture,  presenting  the  importance 
of  education  in  the  war  effort,  was  photographed  by 
a  commercial  film  laboratory  in  less  than  five  days  at 
a  cost  of  $3500.  Forty-eight  copies  of  the  film  have 
been  in  use  in  Illinois,  and  thirty-five  copies  have  been 
purchased  by  state  teachers'  associations  and  other 
educational  groups. 

"While  the  cost  of  the  production  of  such  a  film  is 
not  within  the  reach  of  most  school  systems,"  Mr. 
Griffith  concludes,  "our  experience  suggests  that  edu- 
cational organizations  can  profit  through  the  mutual 
production  and  exchange  of  such  public  relations 
materials." 

QUESTION  BOX  ON  SCHOOL  FILM  PRODUCTION 

Question:  I've  observed  that  some  of  the  (|ues- 
tions  appearing  in  your  Question  Box  Column  have 
beeft' asked  by  novices,  so  I  am  encouraged  to  add 
mine.  I  have  recently  been  assigned  to  guide  the 
Photography  Club  of  our  high  school — which  is  a  case 
of  the  blind  leading  the  not-so  blind,  a  situation  which, 
you  will  have  to  agree,  is  paradoxical  particularly  when 
the  objective  is  i)hotography.  The  men  of  our  faculty 
are  no  longer  available,  either  because  they  are  working 
for  the  Army  or  in  local  war  plants  after  school  hours, 
so  the  Club  was  an  orphan,  and  I.  having  been  known 
to  have  taken  some  snapshots  during  the  past  few  years, 
was  appointed  guardian  for  the  duration — if  I  sur- 
vive it. 

I  mention  all  this  by  way  of  apologizing  for  asking 
a  question  which  I  suppose  is  quite  naive,  but  one  which 
has  come  up,  along  with  others,  as  a  result  of  the  Club's 
recent  decision  (more  gray  hairs — premature,  I  assure 
you — for  me)  to  make  their  first  movie.  My  first  im- 
pulse was  to  "squelch"  the  proposal,  but  the  boys  and 
girls  were  so  enthusiastic  that  I  didn't  have  the  heart. 
and  I  was  optimistic  enough  to  hope  that  it  might  be 
possible,  especially  when  funds  were  made  available 
to  us. 

(Concluded  on  page  346) 


November,   194} 


Page   345 


Eastman  Kodak  Company  presents 

Eighteenth  Century  Life  in  tVilUamsburg^  Virginia 

to  the  nation's  school  children 


Produced  in  the  course  of  a 
continuing  exploration  in 
motion  picture  techniques, 
this  exceptional  film  is  now 
released  for  distribution  to 
schools.  It  will  be  loaned 
without  charge  for  single 
showings. 

"Eighteenth  Century  Life  in  Williamsburg,  Vir- 
ginia" is  not  merely  an  excellent  example  of  cine- 
matography in  Kodachrome;  it  is  a  new  type  of 
documentary  film.  Essentially,  it  is  a  "time  ma- 
chine," by  means  of  which  the  audience  is  projected 
into  the  everyday  life  of  Americans  who  lived  and 
worked  two  centuries  ago. 

"Eighteenth  Century  Life  in  Williamsburg,  Vir- 
gmia"  was  produced  in  cooperation  with  Colonial 
Williamsburg.  The  story  is  simply  that  of  a  day 
in  the  lives  of  a  few  WiUiamsburg  colonists.  It  is 
concerned  with  them  as  people,  not  as  actors;  for 
there  is  no  superimposed  plot,  no  drama. 

The  sound  track  provides  supplementary  infor- 
mation   and    comment,    plus    a    background    of 


" . . .  the  real  grass  roots  of  our  national 
life  are  to  be  found  in  this  superb  record 
of  the  routine  activity  of  i8th  century 
life.  Every  American  should  see  it." 
Dr.  Edgar  Dale, 
Ohio  State  University 


appropriate  i8th  century 
music.  A  full,  illustrated 
description  of  the  film  is 
available  on  request. 


AVAILABLE    AS    A    LOAN 
EXHIBIT 

"Eighteenth  Century  Life  in 
Williamsburg,  Virginia"  is  a  four-reel  (44  minute) 
i6-mm.  sound  Kodachrome  film.  It  is  offered  to  edu- 
cational institutions,  which  are  suitably  equipped 
for  its  projection,  without  charge  for  single  show- 
ings. Borrowers  are  obligated  only  to  give  the 
film  proper  care  and  to  return  it  promptly. 

A  considerable  demand  for  the  film  is  already 
indicated.  It  is,  accordingly,  suggested  that  you 
allow  a  reasonable  time  for  arranging  your  booking. 

In  case  permanent  possession  of  the  film  is  de- 
sired, it  may  be  purchased  as  an  Eastman  Class- 
room Film.  Price,  complete,  $240.  Unit  I  (Reels  i 
and  2),  J120;  Units  II  and  III,  $60  each. 

Write  to  the  Eastman  Kodak  Company,  Infor- 
mational Films  Division,  Rochester  4,  New  York. 


Page  346 


The  Educational  Screen 


^ 

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against 

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FINGER-      j^^^ 
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:^TREATMENT 

LASTS 

THE   LIFE 

OF   THE 

FILM 

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New  York  City                     714  N.  Labrea,  Hollywood 

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Send  for  VICTORY  BULLETIN 

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Sports    Films.     Ask  for   Catalog. 

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742A    NEW    LOTS    AVE.,    BROOKLYN.    NEW    YORK 

(Concluded  from  page  344) 

Several  of  our  questions  have  been  answered  for  us 
in  your  column,  and  by  our  students  who  have  really 
been  thinking  about  this  business  longer  than  I  have. 
It  was  they  who  discovered  from  a  local  dealer  that 
color  film  is  going  to  be  more  plentiful  from  now  on; 
at  least  he  has  some  in  stock  now.  So  the  Club  wants 
to  do  our  first  film  in  color.  I've  heard,  though,  that 
this  is  more  difficult  to  work  with  than  regular  film, 
and  wonder  whether  we  ought  not  to  limit  ourselves  to 
the  most  simple  process,  and  whether  the  effect  of  color 
would  justify  the  greater  difficulty  involved.  I  ran  into 
quite  an  argument  when  I  suggested  this,  and  finally 
agreed  to  submit  it  to  you  for  "arbitration,"  as  one  of 
your  questioners  last  year  expressed  it.  You  may  not 
want  to  discuss  this  in  the  magazine,  but  we  would 
certainly  appreciate  your  advice. 

Answer:  On  the  premise  that  the  man-power  shortage  is 
nation-wide,  and  on  the  chance  that  there  may  be  other 
"drafted"  women  club  advisors  in  a  similar  position,  we  will 
venture  to  present  our  discussion   publicly. 

The  questioner's  use  of  the  adjective  "naive"  reminds  us 
of  the  comment  made  some  years  ago  by  a  noted  professor 
of  educational  psychology  when,  in  a  question-and-answer 
period  toward  the  end  of  his  course,  he  read  this  question: 
"Does  the  use  of  alcohol  really  affect  the  emotions?"  His 
reply  (which  he  later  developed  scientifically)  was,  "Who- 
ever asked  that  one  has  never  been  on  a  'party'!" 

We  hope  this  won't  be  misinterpreted.  It  is  quoted  here 
only  because  it  can  readily  be  paragraphed  to  read,  "Who- 
ever asked  that  has  never  used  color  film."  Color  film, 
properly  used,  is  so  beautifully  gratifying  in  its  results  that 
it  would  seem  amply  to  overcome  any  possible  objection  to 
it  based  on  the  grounds  of  difficulty.  Actually,  if  a  few 
basic  principles  are  observed,  color  isn't  very  much  more 
complicated  than  black-and-white.  But  before  going  into 
this  any  further,  let  us  go  on  record  as  recommending  that 
a  couple  of  hundred  feet  or  so  of  the  cheapest  obtainable 
film  be  used  in  careful  experimentation  in  order  to  gain  the 
"feel"  of  the  camera,  and  an  understanding  of  its  potentiali- 
ties and  limitations.  Try  various  types  of  shots,  and  ob- 
serve the  different  effects  of  each,  and  overcome  the  temp- 
tation to  "pan,"  for  example.  This  should  be  done  no 
matter  what  kind  of  film  is  used  for  the  picture  itself. 

With  that  advice  registered,  we  will  list  a  few  precautions 
of  importance  in  using  color   film.     It's  chiefly  a  problem 


of  exact  exposure,  and  this  should  be  checked  constantly 
and  carefully.  Outdoors,  under  sunny,  cloudless  sky,  the 
chart  supplied  by  the  manufacturer  with  each  roll  of  film 
is  reliable,  but  by  all  means  use  an  exposure  meter  if  you 
have  one  or  can  beg  or  borrow  one(  stealing  is  not  recom- 
mended). If  it  is  an  "open  and  shut"  day,  i.e.,  where  the 
sun  is  frequently  obscured  by  clouds,  the  meter  is  prac- 
tically essential.  The  real  difficulty  with  color  film  is  that 
it  has  little  latitude,  and  the  exposure  must  consequently  be 
exact.  Even  a  slight  variation  in  light  can  make  an  im- 
portant difference.  Indoors,  with  artificial  lighting,  it  is 
virtually  impossible,  especially  for  a  novice,  to  estimate  the 
exposure  required,  charts  or  no  charts. 

Usual  instructions  call  for  flat  lighting,  i.e.,  with  the  light 
directly  on  the  scene,  flooding  all  parts  of  it  with  equal 
intensity.  This  is  probably  good  advice  for  the  cameraman 
making  his  first  film,  although  actually  more  artistic  effects 
can  be  secured  with  a  little  practice,  through  the  use  of 
high-lighting,  and  a  certain  amount  of  shading.  The  danger 
is  demonstrated  by  the  fact  that  if  one  were  to  photograph 
the  back  of  a  person  facing  the  sun,  the  lens  might  have 
to  be  opened  as  much  as  two  stops  more  than  would  be 
correct  for  an  exposure  of  the  subject's  face. 

Another  common  error  with  indoor  color  work  is  that 
of  trying  to  cover  too  wide  an  area.  Concentrate  what 
lights  you  have  on  a  relatively  small  area,  probably  not 
more  than  ten  feet  square  unless  you  have  an  unusual  bat- 
tery of  light,  and  don't  try  to  include  anything  on  the 
fringes  of  this  area.  (One  advantage  of  this  is  that  it  de- 
mands close-ups  and  medium  close-ups,  which  are  too  often 
lacking  in  "first  films.")  Also,  it  is  wise  in  most  cases  to 
have  enough  light  on  the  background  to  brighten  it  a  little; 
otherwise  the  contrast  may  be  so  noticeable  as  to  be  dis- 
tracting and  make  the  scene  appear  artificial.  A  single 
photoflood  reflector  focused  directly  on  the  background  is 
generally  enough  for  this.  And  by  all  means  avoid  a  mix- 
ture of  photoflood  and  natural  (sun)  lighting.  Utilize  one 
or  the  other.  A  mixture  will  give  you  off-shades  of  blue 
or  orange  which  will  inevitably  spoil  the  scene. 

This  suggests  the  matter  of  filters,  which  we  hesitate  to 
mention  because  it  is  a  frightening  word  to  some  beginners. 
Since  you  don't  say  what  kind  of  film  your  dealer  has  in 
stock,  we'd  better  simply  point  out  the  fact  that  there  are 
two  types  of  Kodachrome  film:  Type  A,  or  "indoor"  Koda- 
chrome,  which  is  used  with  artificial  lights  without  a  filter, 
and  "Regular"  Kodachrome,  as  it  is  commonly  called,  which 
is  designed  primarily  for  use  out-of-doors  without  a  filter, 
but  which  may  be  used  indoors  with  a  filter.  Our  advice  is 
not  to  try  to  use  "Regular"  Kodachrome  except  outdoors, 
for  it  is  most  difficult  to  get  sufficient  light  indoors  to  make 
its  use  feasible  in  most  instances.  Your  easiest  method  if 
you  have  two  cameras  is  probably  to  use  one  with  Type  A 
film  for  your  indoor  work,  and  the  other  "regular"  film  for 
your  outdoor  work,  and  ignore  filters  completely.  If  this 
is  not  possible,  and  you  can  get  Type  A,  use  this,  and  get 
the  proper  filter  from  your  dealer  for  your  outdoor  work. 

Out-of-doors,  for  general  scenes,  the  camera  can  be 
handled  exactly  the  same  as  with  black  and  white  film. 
Perhaps  we'd  better  stop  right  there.  It's  basically  as 
simple  as  that  if  you  avoid  working  under  variable  lighting 
conditions;  and  if  you  use  your  exposure  meter  before  every 
shot,  and  are  sure  that  all  of  your  subjects  are  included  in 
your  exposure  reading,  you  won't  go  far  wrong.  If  there 
is  some  contrast  in  the  reading,  as,  for  instance,  between 
green  and  white  objects,  both  of  which  are  to  be  included, 
compromise  on  the  median,  i.e.,  half-way  between  the  two 
exposures  indicated. 

Your  results  will  amaze  you  if  you  haven't  used  color 
before.  The  film  performs  the  inagic,  not  you  or  the  camera; 
all  you  have  to  do  is  give  it  the  right  amount,  and  just 
the  right  amount,  of  light  to  precipitate  the  miracle.  Later 
on,  to  be  sure,  you'll  want  to  experiment  a  bit,  but  not  in 
your  first  film. 

(The  above  answer  is  based  on  experience,  but  experi- 
ences vary,  and  some  readers  may  disagree  with  our  advice. 
If  so,  we  hope  they  will  present  their  arguments  so  that  we 
may  pass  them  along.) 


November,  1943 


Page  347 


1 1  ^f jl  1 1 1 17HIH I  g 


^/te  ^<upuuu  CHALLENGER 

can  serve  in  many  classrooms.  It  is  light 
in  weight,  easy  to  carry  and  can  be  set 
up  quickly  anywhere.  It  is  the  only  screen 
that  can  be  adjusted  in  height  merely  by 
releasing  a  spring  latch  and  raising  the 
extension  support.  (No  separate  adjust- 
ments of  case).  The  Challenger's  specially 
processed  Da-Lite  Glass-Beaded  surface 
shows  pictures  always  at  their  best.  It  is 
especially  fine  for  Kodachrome  projection. 


The  DA-LITE  ELECTROL  is  operated 
entirely  by  electrical  control.  Because 
there  is  no  tugging  on  the  screen  fabric 
when  it  is  unrolled  from  the  case  and 
because  the  fabric  is  in  its  protective  case 
when  not  in  use,  it  lasts  longer  than  any 
other  type  of  screen  mountings. 


A  LIMITED  QUANTITY  OF 


SCREENS 


R*g.   U.   S.   Pat.   Off. 


CAN  NOW  BE  SUPPLIED 

FOR  Pre-lnduction  Training 
Vocational  Training 
and  Other  Uses  Approved 
by  the  W.P.B. 

jT^OR  THE  first  time  since  August,  1942,  steel  can  again  be  used 
in  the  manufacture  of  a  limited  quantity  of  screens  for  certain 
civilian  uses.  The  current  W.P.B.  order  L-267  supersedes  order 
M-126  which  previously  had  limited  the  use  of  steel  in  screens  to 
only  those  which  were  made  fcr  the  armed  forces. 

Those  who  need  Da-Lite  Screens  should  apply  to  W.P.B.  for  au- 
thority to  purchase  using  form  1319,  which  may  be  obtained  from 
local  W.P.B.  ofiBces,  Da-Lite  visual  education  dealers,  or  from  us. 
Orders  must  be  filled  in  the  sequence  in  which  they  have  been  ap- 
proved. Because  the  quantity  of  screens  that  we  are  permitted  to 
make  is  limited,  immediate  action  is  necessary.  All  models  and  all 
sizes  of  Da-Lite  Screens  will  be  available  in  restricted  quantities 
but  made  to  the  same  high  standard  of  quality  for  which  Da-Lite 
Screens  have  always  been  famous. 

Mall  ike  Go44ftXi^  jpJi,  ^0Jun6.  i3i9 


NO    SUBSTITUTE     MATERIALS 


ZuaiCCtf  Scftee*u  ^  34  7fe<vu 


DA-LITE  SCREEN  CO.,  INC. 

Depf.  11ES,  2723  No.  Crawford  Av«., 

Chicago  39,  III. 

Without  obligation   to   us  send sets 

of  W.P.B.  forms  1319. 


Name 

School 

Address , 

City StaU... 


Page   348 


The  Educational  Screen 


COURROBIAS 


^         MURAL     MAPS 

(Series  of  Six) 

Important  as  visual  education  .  .  .  stimulating  as 
an  insight  into  a  vital  world  area!  A  scientifically 
accurate,  artistically  direct  study  of  Pacific  ethnol- 
ogy, economy,  art,  botany,  native  housing  and 
transportation,  in  brilliant  color. 

SCHWABACHER-FREY 

735     MARKET    STREET-SAN     FRANCISCO 


Motion  Pictures  Go  to  War 

(Concluded  from  page  330) 

given  invaluable  assistance  and  most  of  the  films  were 
produced  under  the  direction  of  the  United  States 
Army  Signal  Corps. 

A  familiar  answer  to  "Let's  see  a  show,"  is.  "I've 
already  seen  it."  But  at  the  Lexington  Signal  Depot 
and  other  army  posts  a  given  training  film,  properly 
used,  may  be  shown  several  times  to  one  group.  Actu- 
ally, no  one  sees  all  of  a  given  training  film  at  one 
sitting.  It  might  be  considered  elementary  to  point 
out  that  there  is  no  such  thing  as  a  "motion"  picture, 
but  rather  a  series  of  individual  projected  frames  be- 
tween which  a  beam  of  light  cuts  ofif  the  image ;  the 
illustion  of  motion  is  created. 

When  detail  seen  in  one  picture  is  multiplied  bv 
detail  seen  in  thousands  of  pictures  (frames),  all  more 
or  less  synchronized,  it  is  little  wonder  that  instruc- 
tors at  LSD  are  careful  to  prepare  their  students  for 
a  film  prior  to  projection  and  are  careful  to  reshow  it. 
The  number  of  reshowings  would  depend  upon  the 
complexity  of  the  subject  matter. 

That  theory  is  important  is  recognized  by  the  army's 
insistence  upon  mathematics.  The  problem  of  build- 
ing a  pontoon  bridge  might  be  worked  out  on  paper. 
The  second  step  could  very  profitably  include  a  motion 
picture  which  shows  how  a  pontoon  bridge  is  con- 
structed. The  real  test,  obviously,  would  be  in  the 
actual  construction.  The  United  States  Army  Signal 
Corps  knows  the  limitations  of  the  motion  picture ;  it 
knows  that  the  motion  picture  is  only  one  of  many  aids 
in  teaching.  But  in  swift  survival  war  the  Army 
knows  the  value  of  the  motion  picture  when  it  is  prop- 
erly used,  whether  it  be  an  entertainment  film  seen 
at  one's  favorite  movie  emporium,  or  an  informational 
picture,  such  as  Prelude  to  War.  or  a  training  film 
which  deals  with  first  aid. 

The  Lexington  Signal  Depot  is  an  excellent  exam- 
ple of  an  army  post  which  uses  motion  pictures  prop- 
erly. The  motion  picture,  as  a  medium,  is  a  modern 
weapon  and  from  its  indelible  images  come  the  ideas, 
the  skills,  the  attitudes,  which  mold  human  action 
and  behavior.  Motion  pictures  are,  in  the  opinion  of 
the  Commanding  Officer  of  the  Lexington  Signal  De- 
pot, integral  parts  of  the  whole  pattern  which,  in  the 
end,  will  encompass  the  Axis.  The  actual  prints  of 
motion  pictures  may  be  worn  out  and  tossed  aside,  but 
the  ideas  they  have  conveyed  will  remain. 


Experimental  Research 

in  Audio- Visual  Education 

DAVID  GOODMAN,  Ph.D.,  Editor 

Title:  An  EXPERIMENTAL  STUDY  OF  CHILDREN'S 
UNDERSTANDING  OF  INSTRUCTIONAL 
MATERIALS. 

Investigator:  Marie  Goodwin-  H.\lbf.rt — Completed  for  degree 
of  Doctor  of  Philosophy  at  the  University  of  Kentucky,  1943. 

Purpose:  To  determine  what  ideas  children  get  from  certain 
elementary  school  readers,  and  from  these  ideas  to  determine — 
( 1 )  the  extent  to  whicli  illustrations  contribute  to  the  com- 
prehension of  reading  matter,  and  (2) — the  extent  to  which 
the  stories  and  illustrations  in  the  readers  are  adapted  to 
the  environmental  backgrounds  and  the  experience  of 
the  pupils  for  whom  the  readers  were  prepared. 

Introduction 

The  study  grew  out  of  the  need  for  an  evaluation  of  in- 
structional materials  prepared  by  tlie  staff  of  the  Bureau  of 
.Sdiool  Service,  University  of  Kentucky,  for  use  in  an  experi- 
ment in  applied  economics  financed  by  a  grant-in-aid  from 
the  .Alfred  P.  Sloan  Foundation.  The  Sloan  experiment  seeks 
to  change  dietary  practices  of  certain  rural  communities  by 
directing  emphasis  in  instruction  toward  problems  of  diet  and 
related  topics  in  certain  experimental  schools.'  Toward  this 
end,  three  series  of  readers  and  other  instructional  materials 
for  early  elementary  grades  liave  been  prepared,  utilizing  con- 
ditions and  concepts  known  to  the  child  in  his  own  experience 
rather  than  abstract  and  remote  terms  and  propositions.  The 
present  study  attempts  to  evaluate  the  approach  used  in  the 
Sloan  experiment  by  measuring  and  analyzing  the  ideas  which  ■ 
children  get  from  tlie  instructional  materials,  particularly 
in  relation  to  the  problem  of  reading  with  illustrations  and 
reading   without    illustrations. 

The  study  most  closely  related  to  the  present  investigation 
is  that  of  Miller,2  who  tried  to  find  out  whether  children  who 
read  a  basal  set  of  primary  readers  with  the  accompanying  illus- 
trations secure  greater  comprehension  of  the  material  than  do 
pupils  who  read  tlie  same  material  without  the  illustrations. 
Miller  found  that  the  absence  of  pictures  did  not  cause  the 
cliildren  to  read  the  material  witli  less  comprehension. 

Procedure 

A  representative  story,  witli  its  accompanying  illustrations, 
was  selected  from  one  reader  in  each  series.  Each  of  three 
groups  of  rural  school  children,  equated  on  the  basis  of  read- 
ing ages,  was  divided  into  three  subgroups  corresponding  to  the 
three  levels  of  reading  ability  covered  by  the  readers.  The 
ages  for  each  of  the  three  reading  levels  were  as  follows ; 

Level  A — Reading  Ages  of  96  montlis  or  below 

B — Reading  Ages  of  97  months  to  111,  inclusive 
C — Reading  ages  of  112  months  or  over 

The  children  of  each  of  the  three  reading  levels,  A,  B,  C, 
in  Group  I  were  tested  for  the  ideas  which  they  got  from 
reading  the  selected  story  for  that  level  when  it  was  presented 
with  its  illustrations.  The  children  of  each  of  the  three  reading 
levels,  A,  B,  C,  in  Group  II  were  tested  for  the  ideas  which 
they  got  from  the  selected  story  for  that  level  when  it  was 
presented  alone  (illustrations  covered.)  The  children  of  each  of 
the  three  reading  levels  in  Group  III  were  tested  for  the  ideas 
which  they  got  from  the  illustrations  selected  from  that  level 
when  they  were  presented  without  the  story  (story  covered.) 

Since  the  children  were  to  be  tested  for  the  ideas  which  they 
got  from  the  stories,  the  separate  ideas  in  each  story  were  listed. 
The  artists  listed  the  ideas  that  they  were  trying  to  convey 
in  the  pictures.  These  lists  were  used  as  scoring  keys  in 
tabulating  results.  If  an  idea  agreed  with  the  ideas  listed  it 
was  scored  as  a  relevant  idea.    Ideas  which  did  not  agree  with 

{Concluded  on  page  363) 


1.  Maurice  F.  Seay  &  Harold  F.  Clark,  "The  School  Curriculum  and 
Economic  Improvement" — Bulletin  of  the  Bureau  of  School  Service, 
U.  of  Ky.,  Vol.  XIII,  No.   1,  September  1940,  p.   13. 

2.  Wm.  A.  Miller,  "Read'ng  With  and  Without  Pictures,"  Elementary 
School  Journal,  38:676-82,  May  1938. 


November,    194} 


Page  349 


Here's  Light  on 
Mathematics 

1,087  Pictures  to  Develop 
Mathematical  Concepts 

The  Jam  Handy  "Light  on  Mathematics"  Kit-set  will  help  any 
teacher  of  mathematics  carry  an  overload — and  like  it.  And  it  helps 
the  students  too — "they  see  what  you  mean." 

Heavy  teaching  loads  can  be  carried  and  excellent  teaching  done 
best  when  appropriate  visual  training  aids  are  at  hand — where  you 
want  them  and  when  you  want  them. 

Some  knowledge  of  mathematics  is  basic  to  training  in  war  jobs — 
civilian  and  military — today.  "Light  on  Mathematics"  slidefilms  im- 
plement a  refresher  course,  a  complete  review  of  elementary  and  high 
school  mathematics.  They  bring  the  student  "up  to  date,"  ready  to 
learn  and  acquire  the  specialized  skills  he  needs  for  Pre-flight  Aero- 
nautics, Pre-induction  Training  and  war  production. 

These  slidefilms  are  conveniently  arranged  in  Kits  for  use  in  classes 
in  Arithmetic,  Algebra,  Geometry  and  Trigonometry.  The  teacher  can 
make  his  or  her  own  selections  and  grouping  of  the  slidefilms  to  meet 
each  particular  instructional  need. 

These  visual  instruction  aids,  "Light  on  Mathematics,"  make 
teaching  easier,  more  thorough  and  more  effective.  They  help  carry 
the  overload. 


I 


The  Jam  Handy  Organization,  ^^'^ 

2900  East  Grand  Boulevard,  Detroit,  11,  Michigan 

n  Please  enter  our  order  for  the  "Light  on  Mathematics"  Kit-set  at  $81 
f.o.b.  Detroit. 

n  Please  send  me  without  obligation  full  details  on  how  I  may  try  out 
this  Kit-set  in  my  own  classroom. 

Name 

Position 

Organization 

Address 


Page  350 


The  Educational  Screen 


NEW  FILMS  OF  THE  MONTH 

As  They  Look  to  A  Teacher  Committee 


L.    C.    LARSON,    Editor 

Instructor  in  School  of  Education 
Consultant  in  Audio- Visual  Aids 
Indiana  University,  Bloomington 

Grain  That  Built  a  Hemisphere 

(Office  of  Coordinator  of  Inter-American  Affairs.  444  Madi- 
son Avenue,  New  York)  10  minutes.  16mm.  sound,  color.  Pro- 
duced by  Walt  Disney  and  his  staff.  Apply  to  distributor  for 
rental   source   and   terms   governing   purchase. 

This  Walt  Disney  cartoon  tells  the  story  of  what  corn  has 
meant  to  civilization.  It  traces  the  evolution  of  corn  and 
shows  that  unequivocal  conclusions  concerning  the  origin  of 
corn,  even  though  based  upon  the  study  of  archaeological 
evidence  and  botanical  relationships,  cannot  be  formulated.  The 
film  theorizes  that  Indian  corn  is  generally  believed  to  be  a 
native  of  the  warmer  parts  of  .America  where  it  was  cultivated 
by  the  aborigines  before  the  discovery  by  Columbus.  The 
Indian,  intent  upon  his  search  for  game,  is  first  shown  ream- 
ing the  wildlands  unmindful  of  the  presence  of  a  sort  of  corn. 
His  subsequent  discovery  of  corn  contributes  to  the  civiliza- 
tion of  America.  The  film  shows  how  the  civilization  of  the 
Mayas  and  Aztecs  revolved  around  the  cultivation  of  corn 
with  special  emphasis  upon  their  careful  selection  of  seed, 
erection  of  temples  to  the  corn  god,  and  even  sacrifice  of  human 
life  in  an  attempt  to  secure  an  abundant  crop. 

The  film  describes  the  growth  and  development  of  corn 
from  the  time  it  grew  wild  on  the  high  slopes  of  mountains  to 
the  present  day  cultivation  of  hybrid  corn,  by  the  process  of  in- 
breeding for  several  generations  to  develop  pure  lines  and 
then  crossing  unrelated   inbred   lines. 

Concluding  scenes  of  the  film  substantiate  the  statement  that 
corn  is  America's  most  important  crop..  A  forecast  of  the  future 
predicts  such  further  uses  of  corn  as  high  octane  gasoline  and 
plastics. 

Committee  Appraisal:  An  interesting  example  of  the  use 
of  the  animated  cartoon  to  provide  pictorial  experience  needed 
to  enchance  the  understanding  of  concepts  included  in  courses 
of  study.  There  are,  however,  instances  in  the  film  when 
Disney  relies  heavily  on  the  narrator  for  the  presentation  of 
ideas  necessary  to  achieve  the  objective  of  the  film.  It  should 
be  valuable  in  geography,  agriculture,  economics  and  history 
in  the  study  and  discussion  of  the  history  of  corn  with  special 
emphasis  upon  its  importance  to  civilization,  and  methods 
of  selective  inbreeding  and  crossbreeding. 

The  Riiby  Throated  Hummingbird 

(Coronet  Productions,  Glenview,  Illinois)  11  minutes,  16mm. 
sound.  Purchase  price  $50,  black  and  white ;  $75,  color.  Apply 
to  producer  for  rental  sources. 

The  film  shows  the  nesting  habits,  the  hatching  of  the  young, 
and  the  feeding  habits  of  the  hummingbird.  Hummingbirds  are 
attracted  to  the  twenty-five  vials  scattered  around  the  veranda 


This  monthly  page  of  reviews  is  conducted  for  the 
benefit  of  educational  film  producers  and  users  alike.  The 
comments  and  criticisms  of  both  are  cordially   invited. 

Producers  wishing  to  have  new  films  reviewed  on 
this  page  should  write  L.  C.  Larson,  Indiana  University, 
Bloomington,  Indiana,  giving  details  as  to  length,  content, 
date  on  which  the  film  was  issued,  basis  of  availability, 
prices,  producer,  and  distributor.  They  will  be  informed 
of  the  first  open  date  when  the  Teacher  Committee  will 
review  the  films.  The  only  cost  to  producers  for  the 
service  is  the  cost  of  transporting  the  prints  to  and 
from  Bloomington.  This  Cost  Must  Be  Borne  By  The 
Producers. 


Assisted  by  CAROLYN  GUSS 
and  VIOLET  COTTINGHAM 

Extension  Division 

Indiana  University,  Bloomington 

and  then  by  means  of  close-up  photography  the  distinguishing 
characteristics  of  the  bird  are  shown.  The  tubular  tongue  is 
extended  and  liquid  sucked  into  the  throat  as  the  bird,  in  this 
instance,  visits  the  vials ;  in  normal  conditions  the  nectar  is 
obtained  from  flowers.  The  small  nest  which  is  usually  located 
in  trees  along  a  woodland  trail  is  shown.  The  two  (never 
more)  eggs  which  the  female  alone  incubates  are  shown.  The 
small  size  of  a  baby  hummingbird  is  conveyed  by  placing  it  in 
a  teaspoon.  To  feed  her  young,  which  she  does  at  least  every 
half  hour,  the  mother  bird  inserts  her  tongue  in  the  throat  of 
the  young  bird  and  squirts  it  full  of  nectar.  In  the  fall  the 
hummingbird  leaves  for  winter  quarters  in  Central  America. 

Committee  Appraisal:  Color  and  close-up  photography 
are  used  to  an  advantage  to  depict  the  characteristics  and  habits 
of  the  hummingbird.  Recommended  for  use  by  groups  on  all 
levels  interested  in  or  studying  the  hummingbird. 

Soldiers  of  the  Soil 

(E.  I.  du  Pont  de  Nemours,  Wilmington,  Delaware)  40 
minutes,  16mm.  sound.  Produced  by  Pine-Thomas  Productions 
for  du  Pont.  Rental  free  from  sponsor. 

"Soldiers  of  the  Soil,"  a  tribute  to  the  farmers  of  America — 
Past,  Present,  Future — presents  through  the  thumb-nail  bi- 
ograph  of  the  Landis  family  the  importance  of  agriculture  to 
the  war  effort.  John,  the  younger  son,  who  has  been  deferred 
to  work  on  the  farm,  is  called  from  the  tractor  to  greet  Jiis 
brother,  David,  who  has  just  returned  from  active  service. 
Joyous  anticipation  freezes  into  horror  as  John  dashes  up  to 
David  and  discovers  the  terrible  truth — David  is  blind.  He  can 
see  only  through  the  eyes  of  Smitty,  his  seeing-eye  dog. 

At  the  family  celebration  which  is  held  in  honor  of  David's 
return,  jubilant  glee  is  subdued  by  inward  grief.  Later  in  the 
company  of  his  young  nephew,  David  leaves  the  table  "to  feel" 
Poochy's  pups.  John  explains  to  his  family  that  he  feels  com- 
pelled to  enlist.  David,  who  has  returned  to  the  dining  room 
and  stands  unobserved  in  the  doorway,  hears  John's  declara- 
tion. He  registers  no  verbal  objection,  but  one  can  discern 
that  he  does  not  approve. 

On  Sunday  the  entire  family,  with  the  exception  of  John, 
leave  to  go  to  church  to  hear  David  who  has  been  invited  by  the 
minister  to  speak.  After  the  family  has  left,  John  decides 
that  he  should  go.  He  enters  the  church  without  David's  know- 
ing it.  David  tells  the  congregation  that  he  has  chosen  to 
answer  a  question  which  is  confronting  not  only  his  brother, 
John,  but  others  engaged  in  agriculture,  "Where  do  I  belong 
in  this  great  world  crisis  ?"  .\s  he  tells  the  story  of  his  family, 
the  film  shows  the  incidents.  David's  story  follows  the  Landis 
family  through  years  of  hard  work  and  sacrifice,  the  eldest 
brother's  return  from  World  War  1  and  entry  into  business,  the 
death  of  a  baby  sister  who  might  have  been  saved  had  the 
family  had  a  means  of  communicating  with  the  doctor,  and 
John's  decision  to  stay  at  home  and  help  farm  in  order  that 
David  might  go  to  college.  Mechanical  equipment  increases  their 
manpower;  science  improves  their  soil,  crops,  and  stock;  elec- 
tricity revolutionizes  both  the  home  and  the  farm. 

John  marries  but  remains  at  home  and  continues  to  devote 
his  best  thought  and  effort  to  the  farm.  David,  in  the  mean- 
while, is  called  from  his  professorship  to  serve  in  the  army. 
David  then  points  out  to  the  congregation  that  this  is  the  story 
not  only  of  the  Landis  family  but  thousands  of  American 
families.  Drawing  upon  his  experiences  as  a  soldier,  he  force- 
fully and  convincingly  concludes  that  the  greatest  service  that 
all  young  men  like  John  can  render  their  country  is  to  remain 

(Contintted  on  page  352) 


November,  1943 


to 


^/// 


Q 


assroom 


Films 


Page  351 


Save 


on  ^Jf^ar-Related  Subjects 

Produced  by  Eastman .  .  .  listed  here  to 
assist  you  in  planning  your  current-events  discussions 


COVERING  a  wide  range  of  war-related  sub- 
jects, these  films  "review"  the  geographical, 
historical,  and  topical  facts  needed  for  an  under- 
standing of  today's  headlines.  More  vital  than 


ever  is  the  help  they  offer  every  teacher.  .  .  . 
Unless  otherwise  indicated,  titles  listed  are  on 
l6-mm.  (silent)  safety  stock.  Price,  $24  per 
400-ft.  reel;  shorter  reels  priced  in  proportion. 


WAR  FRONTS  OF  THE  WORLD 

Russia  (3  reels) 

Germany  (3  reels) 

India  (3  reels) 

Japan  (2  reels) 

The  Philippine  Islands 

Manchukuo 

The  Dutch  East  Indies 

Turkey  (2  reels) 

Glimpses  of  the  Near  East 

Finland 

Hungary 

Bulgaria 

Denmark 

Yugoslavia 

Siberia  (2  reels) 

Poland 

Alaska 

The  Panama  Canal 

The  Hawaiian  Islands 

Washington — the  Capital  City 

London 

HEMISPHERE  SOLIDARITY 

The  Continent  of  South  America 

Argentina 

Bolivia 

Brazil  (2  reels) 

Chile 


Peru 

Central  America 

Mexico 

From  the  Bahamas  to  Jamaica 

Puerto  Rico 

From  Haiti  to  Trinidad 

Coffee 

WAR  INDUSTRIES 

Aluminum 

Iron  Ore  to  Pig  Iron 

Pig  Iron  to  Steel 

Copper 

Tin 

Producing  Crude  Oil 

Refining  Crude  Oil 

Rubber 

Anthracite  Coal 

Bituminous  Coal 

Mechanical  Training 

Elementary  Operations  on  the 

Engine  Lathe  (2  reels,  sound 

...  $36  per  reel) 

Principles  of  Flight 

Four-Stroke  Cycle  Gas  Engine 

ON  THE  HOME  FRONT 

First  Aid 

Care  of  Minor  Wounds  (V4  reel) 


Carrying  the  Injured  (Vi  reel) 
Control  of  Bleeding  (^4  reel) 
Life  Saving  and  Resuscitation 

Home  Nursing 

The  Bed  Bath  (1/2  reel) 

Routine  Procedures 

Special  Procedures  (*^  reel) 

Fire  Protection 

Fire  Prevention 

Fire  Protection 

Fire  Safety 

Nutrition  and  Health 

Vitamins  (2  reels) 

Child  Care  (2  reels) 

Cleanliness  (4  half  reels) 

The  Eyes  (2  reels) 

The  Feet 

The  Teeth  (3  reels) 

Posture 

Education 

Free  Schools — The  Hope  of 

Democracy 

Safety 

Safety  at  Home 

Safety  at  Play 

Vacation  Safety 

Street  Safety  (2  reels) 


Many  other  timely  Films  also  available. 
Write  Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N.  Y, 

Eastman  Classroom  Films 


Page  352 


The  Educational  Screen 


The  Greatest  Film  of 

WILD  ANIMAL  LIFE! 


FRANK   BUCK'S 
JUNGLE   CAVALCADE 

16mm.  Sound  Film  Feature 
THRILLING!  FASCINATING!  EDUCATIONAL! 

The  most  outstandiiisr  agKregation  of  wild  ani"'al 
thrills  ever  shown!  Python  versus  tiger  .  .  .  tiger 
versus  crocodile  .  .  .  the  wild  elephant  hunt  .  .  . 
capture  of  the  giant  orangoutang.  Filmed  in  the 
heart  of  the  Malay  Jungle.  Combines  all  the  out- 
standing sequences  from  "BRING  'EM  BACK 
ALIVE,"  "WILD  CARGO"  and  "FANG  AND 
CLAW." 

8  REELS,         RENTAL  BASIS 
$15  Spot  Booking 
$12.50  Series  Booking 

Send  for  Catalog  of  3000  entertainment  and  Educa- 
tional Subjects  available  for  rental  and  sale. 

25  W.  45th  St.        Dept.  E-11         New  York  19.  N.  Y. 


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you  may  win       $50*00  plblkity 

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Thousands  of  16mm  Sound  Films. 

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SWANK    MOTION    PICTURES 

614   No.   Skinker                                                            St.    Louis   5.    Mo. 

(  Continued  from  pac/c  ,350) 

on  the  farm  and  supply  the  food  needed  so  desperately  by  the 
.Allied  armies  so  that  every  farmer  can  say  at  the  end  of  the 
war,  "I  worked  my  fields.  Not  one  soldier  fell  from  lack  of 
food  I  could  have  grown."  At  the  conclusion  of  David's  speech, 
John  joins  his  brother  to  escort  him  down  the  aisle  and  tells 
iiim  tliat  he  now  sees  that  it  is  his  duty  to  remain  on  the 
farm. 

Committee  Appraisal:  Poignant  treatment  of  how  a  farm 
family  is  aiTccted  by  and  adjusts  to  exigencies  arising  in  a 
complex  society.  .A  major  portion  of  the  film  deals  with  the 
ways  in  which  each  member  of  the  family  can  made  a  con- 
tribution to  the  war  effort.  In  the  case  of  the  younger  son,  it 
is  decided  after  a  consideration  of  personal,  intra-family,  and 
national  values,  that  he  can  perform  the  greatest  service 
by  remaining  on  the  farm.  Highly  recommended  for  secon- 
dary and  college  classes  in  agriculture  and  social  studies, 
and  for  school  assembly  and  adult  meetings  concerned  with 
the  importance  of  agriculture  in  winning  the  war  and  the  peice. 

New  Earth 

(Brandon  Films,  Inc..  1600  Broadway,  New  York  City, 
and  Educational  Film  Library  Association,  45  Rockefeller 
Plaza,  New  York  City)  18  minutes,  16mm,  sound.  Purcl'ase 
price  $72.00.  .  Apply  to  distributors  for  rental  sources. 

A  black  and  white  map  shows  how  Holland  has  gained 
more  arable  land  through  the  partial  completion  of  a  vast 
land-reclamation  project.  Through  these  efforts,  the  Dutch 
gained  knowledge,  skill,  and  tools  to  perform  greater  tasks. 

The  film  chronicles  the  efforts  of  the  Dutch  to  build  a  dike 
across  the  Zuyder  Zee,  an  inland  arm  of  the  North  Sea, 
partially  drain  the  Zee,  and  make  the  land  usable.  The  first 
step,  as  the  film  pictures,  is  the  building  of  huge  rushwood 
mattresses  which  serve  as  foundation  for  the  sea  dike.  The 
huge  mattresses  are  shown  being  towed  to  sea  and  being  sunk 
witli  large  stones.  Upon  this  foundation  huge  water-borne 
derricks  deposit  clay  dug  from  the  bottom  of  the  Zee  itself.  To 
protect  the  clay  from  the  erosive  action  of  the  North  Sea, 
sand  is  forced  hydraulically  against  the  .sea  wall  and  more  huge 
rocks  are  deposited.  The  closing  of  the  dike  and  the  light 
against  the  North  Sea  is  shown  as  the  last  gap  is  filled.  An 
airplane  view  surveys  the  one  hundred  foot  sea  wall  that 
will  act  as  a  connecting  link  between  North  Holland  and 
F'riesland. 

Following  the  completion  of  the  dike,  plans  are  made  to  drain 
tlie  water  from  the  sea  bed.  A  diagram  shows  how  the 
Zuyder  Zee  has  been  divided  into  four  sections  or  polders. 
Scenes  show  the  machinery  and  equipment  slowly  draining 
the  land.  Men  are  pictured  turning  the  virgin  soil  for  the 
first  time,  planting  seed,  and  harvesting  their  crops.  Scenes 
show  homes  being  built  and  the  reclaimed  land  being  used.  The 
film  closes  with  the  statement  that  "Water  flows  through 
Holland  where  Dutchmen  will   it  to  flow." 

Committee  Appraisal:  This  film  documents  in  an  inter- 
esting and  dramatic  fashion  a  successful  experiment  in  which 
men,  skilled  in  the  use  of  machines  and  materials,  recovered 
for  agricultural  use  huge  tracts  of  land  covered  by  the  sea. 
-An  excellent  film  for  use  in  geography  and  social  studies 
classes  on  the  elementary,   secondary,  and  adult   levels. 

Balloons 

(Educational  F'ilm  Institute,  New  York  University,  Wash- 
ington Square,  New  York  City)  28  minutes,  16mm,  sound. 
Sale  price  $60.00.  Apply  to  distributor  for  rental  sources. 
Produced  by  Department  of  Child   Study,  Vassar  College. 

Marvin  and  Terry,  two  boys  between  the  ages  of  four 
and  five,  are  subjects  in  an  experimental  situation  designed 
for   the   study   of  aggressive   and   destructive   impulses.      The 


November,   194} 


Page  353 


yi^t^^i^tci^  IMPORTANT  CHANGES 

IN     PROCEDURE 


The  S.V.E.  Model  DD  Shows 

•  Single-Frame  Slidefilms 

•  Double-Frame  Slidefilms 

•  rx2"Minia«ure  Slides 

The  S.V.E.  Model  DD  Projector  is  ideal 
for  classrooms  or  small  auditoriums. 
Complete  ivith  150-ivatt  lamp,  Ana- 
stigmat  lens,  S.V.E.  rewind  take-up, 
semi-automatic  vertical  slide  changer, 
heat  absorbing  filter,  and  leatherette 
carrying  case,  $60.00  Price  subject 
to    change    without    notice. 


fo'Obfa/n  Authority  to  Purchase  Model  DD 


^p^TW-Purpose 
PROJECTORS 

In  September,  we  announced  the  W.P.B.  release  of  S.V.E.  Tri- 
Purpose  Projectors  (Model  DD)  for  pre-indiiction  vocational 
and  war  training.  The  procedure  for  securing  authority  to 
purchase  tliese  projectors  has  since  been  changed. 

The  current  ruling  under  L-267  requires  that  W.P.B.  Form 
1319  be  submitted  in  triplicate  to  the  Photographic  Section, 
Consumers  Durable  Goods,  War  Production  Board,  Washing- 
ton, D.  C.  These  forms  may  be  obtained  from  your  S.V.E. 
dealer  or  by  writing  Society  for  Visual  Education,  Inc.,  depart- 
ment 11,  ES. 


SOCIETY  FOR  VISUM  EDUCATION,  Inc.,  100  East  Ohio  Street,  Chicago  11,  Illinois 


introductory  title  explains  that  because  of  different  experiential 
backgrounds  and  personality  patterns  each  child  is  unique.  As- 
sistants are  shown  preparing  the  experimental  room  while  the 
commentator  explains  that  the  two  boys  will  be  introduced 
individually  to  the  same  situation  for  the  purpose  of  observing 
their  reactions. 

Marvin  is  brought  into  a  room  which  contains  balloons  of 
various  sizes,  shapes,  and  colors.  He  is  told  that  he  might  play 
with  them  in  any  manner  that  he  chooses.  He  immediately  says 
ttiat  he  hopes  they  don't  break,  and  to  an  invitation  to  break 
them  he  replies  in  the  negative.  The  psychologist  asks  Marvin  it 
it  would  be  all  right  if  he  broke  a  balloon,  but  Marvin  says,  "If 
you  do,  I'll  go  away."  When  the  psychologist  takes  a  small 
scrap  of  rubber  from  his  pocket,  forms  a  tiny  balloon,  and  be- 
gins to  twist  it  to  break  it.  Marvin  flinches  and  advises  him 
not  to  break  it.  However,  a  smile  of  satisfaction  flits  across 
iiis  face  when  the  experimenter  breaks  the  balloon.  Marvin 
admits  that  he  liked  it  but  doesn't  want  any  of  the  bigger 
balloons  broken.  When  asked  what  he  would  like  to  do  with 
the  ballfKins,  Marvin  says  that  he  would  like  to  take  them  liome 
l.ut  cannot  demonstrate  how  he  would  like  to  play  with  them. 
Of  one  thing  he  is  sure — he  doesn't  want  them  broken. 

Terry  is  now  intro<'.uced  to  exactly  the  same  situation.  Upon 
entrance  into  the  room  he  is  intrigued  by  the  balloons  and 
can't  keep  "hands  off."  He  bats  them  into  the  air  and  im- 
mediately accepts  the  invitation  to  break  them.  By  standing 
on  them,  rolling  on  them,  squeezing  them,  and  using  the  as- 
sistance of  the  experimenter,  Terry  finally  succeeds  in  bursting 
every  balloon  in  the  room. 

Committee  Appraisal:  The  film  is  valuable  to  demon- 
strate the  existence  of  individual  differences  in  the  amount  of 
hospitality  or  aggression  present  and  the  control  exercised 
over  it  in  individuals.  It  is  an  excellent  film  for  use  by  classes 
in  psychology,  teacher-training,  and  in  P.T..\.  groups.  Groups 
will  vary  in  how  they  will  account  for  the  differences  in  be- 
havior shown  in  the  film  and  in  methods  for  assisting  young- 
sters displaying  these  behavior  patterns  in  making  social  and 
personality   adjustments. 


lluilfrotitcd  Hllh  the  problclll 
of  training  iiiiMioiis  of  mm 
i|uicltlv,  L'ncic  Sam  Has  fa»l 
lo  appreciate  the  experience  of 
ihousanils  of  ^rhools  that  had 
a\rcat\y  proved  the  effective- 
ness of  instriirtionul  films.  And 
today,  ERI'l  films  do  their  part 
—  speediiiic  up  the  instruction 
of  this  vast  army  of  men  — 
eifuippinfE.  them  ifuirkly  aiul 
thoroughly  for  mechanized 
war. 


Already  Proved 

Equally  Effective 

in  Thousands 

of  Classrooms 


Whether  lor  pre-induelion 
courses,  af*tual  training  pro- 
grams, or  the  regular  school 
curricula  —  ERPI  films  effec- 
tively supplement  personal  in- 
striielion  by  the  pictorial  pres- 
entalif>n  of  scientific  subjects 
iM'tng  studied. 

^rite  for  FREE  Booklet  de- 
srribing  the  ERPI  film  subjects 
which  have  been  used  so 
successfully  in  this  training 
program. 


ERPI  CLASSROOM  FILMS  INC. 


1841   Broadwajr 


New  York  23,   New  York 


Page  354 


The  Educational  Screen 


Announcing 
a  New  Series  of  Six 


rf 


AVIATION  CLASSROOM. 
FILMS  |J 


entitled 


BRAY-OTIS  SERIES 


Scripts  by 
ARTHUR  S.  OTIS 
Co-Authqr:  Pope-Otis  Text  Book 

"ILEMENTS    OF    AERONAUTICS" 


i 


Write  for  complete  cofa/ogpe  of 

AVIATION    CLASSROOMS    FILMS 

Especioliy  produced  for  the  aviation  courses 
now  being  given  in  the  secondary  schools 

BRAY   PICTURES    CORPORATION 
729  Seventh  Ave.,  New  York  19,  N.  Y, 


16  mm.    SOUND   FILMS    FOR 
CLASSROOM  AND  ASSEMBLY 

United  Nations  at  War 


United  States  Britain 

Wings  Up  World  of  Plenty 

It's  Everybodys  War  The  Silent   Village 

Wartime  Nutrition  Before  the   Raid 

Food    for   Fighters  I  was  a  Fireman 


Canoda 

Food,    Weapon   of 

Conquest 
Forward  Commandos 
Women  are  Warriors 
The  Peoples  War 


Hundreds  of  feacA/ng  films  suc/i  as: 

Social    Studies  U.    S.    History  World  History 

The  City  Servant  of  the  People  Tsar  to  Lenin 

1/lOth  of  our  Nation  Sons  of  Liberty  Expansion  of  Germany 

Valleytown  Monroe  Doctrine  The  World  at  War 

The  River  The  Flag  Speaks  Battle  of  Brains 


Also:  Films  on  Biology,  Geology,  Physics, 
Chemistry,  Psychology,  Child  Psychology, 
Guidance,     Teacher     Training,     Geography. 


One  of  the  largest  libraries 
of  Foreign   Language   Films 

For  further  information  and  catalogs  write 

THE  COLLEGE  FILM  CENTER 


84  E.  RANDOLPH  STREET 


CHICAGO,  ILLINOIS 


^Y. 


Ecv±    an 


Films  for  OWI  Campaign  Programs 

The  Office  of  Program  Coordination  of  OWI  co- 
ordinates the  various  media  for  the  dissemination  of 
information — radio,  newspapers,  magazines,  and  movies 
— and  channels  their  releases  to  promote  the  campaigns 
of  most  importance  at  a  certain  time.  Many  of  these 
campaigns  are  of  contiimiiig  importance  and  attention 
is  given  to  them  continuously,  with  special  emphasis 
during  certain  months — such  as  tin  can  and  waste  fat 
salvage.  Others  receive  emphasis  only  for  a  short  time 
and  then  the  necessity  for  promoting  them  passes. 

One  of  the  continuing  campaigns  is  that  of  impress- 
ing upon  our  people  the  importance  of  food  as  a  war 
weapon.  Special  attention  is  being  given  to  this  sub- 
ject this  month,  which  has  been  designated  Food  for 
Freedom  month. 

One  of  the  services  of  the  Bureau  of  Motion  Pictures, 
Office  of  War  Information,  is  to  correlate  the  16mm 
motion  pictures  released  by  the  Government  on  war 
subjects  with  the  other  OWI  media  employed  in  these 
informational  programs.  To  this  end,  the  Bureau  has 
released  an  e.xtensive  list  of  "Food  for  Freedom"  16mm 
films  offering  a  wide  selection  of  films  suitable  for  use 
in  that  campaign. 

In  addition  to  the  food  campaign,  Recruitment  is  em- 
phasized in  November.  To  recruit  women  for  the 
WACS.  WAVES.  Marines,  and  SPARS,  the  film 
Coast  Guard  Spars  is  recommended.  For  other  films 
on  recruitment,  consult  your  local  recruiting  offices. 

Other  vital  subjects  will  be  stressed  during  the 
months  to  come.  Don't  Travel  will  be  emphasized  in 
December.  Films  which  will  aid  in  discouraging  un- 
necessary civilian  bus  and  rail  travel  are  Right  of  Way 
and  Troop  Train.  Two  continuing  campaigns  also  will 
receive  emphasis  in  December — Security  of  War  Infor- 
mation and  Farm  Production  Goals.  Films  selected  to 
discourage  careless  talk  are :  Safeguarding  Military  In- 
formation. All  Hands.  Dangerous  Comment,  Nozv 
You're  Talking.  Among  the  many  motion  pictures 
w^hich  can  be  utilized  in  the  farm  production  program 
are:  The  Battle  Is  in  Our  Hands,  World  of  Plenty, 
Farm  Battle  Lines,  Home  on  the  Range,  Farmer  at 
War,  Henry  Browne.  Farmer  and  Salute  to  Farmers. 

Schools  should  take  a  leading  part  in  this  work  by 
promoting  films  related  to  these  campaigns  and  urging 
groups  to  plan  their  programs  for  the  respective  months 
around  the  particular  campaigns  for  that  month.  An- 
nouncements of  subsequent  programs  and  film  sug- 
gestions will  appear  in  the  monthly  issues  of  the  News- 
letter circulated  by  the  OWI  Bureau  of  Motion  Pic- 
tures to  its  229  distributors,  from  whom  the  films  are 
available. 

Song  Collection  for  School  War  Programs 

A  collection  of  Xezi.'  Songs  for  Schools  at  War  has 
been  published  by  the  Education  Section,  War  Finance 
Division,  Treasury  Department,  in  cooperation  with  the 
Music  Educators  National  Conference,  for  use  by  music 
teachers  and  supervisors  in  elementary  schools.  Just  a 
year    ago    the    association   announced    a    song-writing 


d 


November,   194i 


Page   355 


^Ot 


■£1 


project  to  encourage  student  songs  about  their  own  war 
activities.  In  January  1943,  a  collection  of  these  songs 
was  published  under  the  title  "Songs  for  Schools  at 
War,"  and  distributed  to  teachers  for  use  in  music 
classes,  in  assembly  programs,  and  in  War  Bond  rallies. 
The  "New  Songs."  written  by  and  for  school  children, 
were  selected  by  the  committee  in  response  to  requests 
from  teachers  and  pupils  for  more  songs  that  could  be 
used  in  classrooms  and  assemblies  to  stimulate  the  War 
Savings  activities  in  schools;  This  second  collection 
contains  a  completely  different  assortment  from  the 
first.  In  addition  to  routine  use  in  class,  other  ways 
of  utilization  are  suggested. 

Single  copies  of  this  16-page  edition  of  songs  may  be 
obtained  from  the  Education  Section  of  the  War  Fi- 
nance Division,  or  from  State  Finance  Committees. 

Southern  Conference  Not  to  Meet 

For  the  last  six  consecutive  years  the  officers  and 
directors  of  the  Southern  Conference  on  Audio-Visual 
Education  have  presented  in  .-\tlanta  a  program  of 
great  interest  and  high  quality,  which  has  attracted  a 
large  number  of  representatives  of  schools  and  colleges 
of  the  Southeast,  particularly  specialists  in  the  distribu- 
tion and  u.se  of  visual  aids  in  teaching.  After  serious 
consideration,  it  has  been  decided  to  suspend  these  an- 
nual meetings  for  the  duration  of  the  war  because  of 
the  many  difficulties  of  travel  occasioned  by  the  present 
emergency.  The  work  of  the  Conference  will  go  on. 
and  the  animal  meetings  will  be  resumed  as  soon  as 
general  conditions  will  permit.  {Film  Service  Nezvs 
Letter  of  the  Division  of  General  E.xtension,  Univer- 
sity System  of  Georgia.) 

Army  Films  Released  for  Non-Theatrical  Showings 

Army-Government  films,  including  the  Why  We 
Fight  orientation  series  made  by  Lieut.  Col.  Frank 
Capra  for  the  Army's  Special  Services  Division,  are 
now  available  for  general  non-theatrical  circulation. 
Formerly  these  films  had  been  shown  only  to  Army 
camps  and  to  war  workers  in  industrial  plants  as 
"incentive  pictures"  to  raise  morale  and  increase 
production.  Bookings  of  the  films  have  been 
handled  by  Walter  O.  Gutlohn,  Inc.,  Castle  Films, 
and  Modern  Talking  Picture  Service.  These  three 
national  distributors  will  continue  to  distribute 
all  publicly  released  Army  films,  which  in- 
clude such  subjects  as  All  American.  Attack  Sigmil. 
Battle  oj  Midzvay.  Combat  Refort,  Fire  Power,  War 
on  Wheels.  Titles  of  the  Capra  films,  which  present 
a  powerful  documentation  of  the  War  Department's 
interpretation  of  the  causes  of  the  war,  are,  in  order. 
Prelude  to  War,  The  Nazis  Strike,  Divide  and  Con- 
quer, The  Battle  of  Britain  and  The  Battle  oj  Russia. 
A  si.xth.  on  racial  minorities  in  America,  is  in  production. 

The  Xavy's  Industrial  Incentive  Division  still  limits 
the  distribution  of  their  morale-building  ])ictures  to  war 
plants,  vvhicii  are  serviced  by  the  same  three  distributors 
mentioned  above.  According  to  Lieut.  Commander 
Thomas  Orchard,  in  charge  of  production,  the   Navy 


7^  "FILMATIC 

Triple-Purpose 
Film  Slide  Proiector 


USED 
3  WAYS 


For  2x2  Slides 

2.     For  Single  Frame  35mm 
Slide-film 

For  Double  Frame  35mm 
Slide-film 


Used  By  the  Armed  Forces 

if  SPEEDS  VISUAL  TRAINING 


N.w  Non-Rewind  B""''" 
Eliminates  Re«ind.n, 
,    Motor  Driven  Forced 
Air  Cooled 

,   Instantly  Adiustable 
,   Includes  Manumotic 
Slide  Carrier 

and  other  features 


This  new  easier-to-operate 
projector  simplifies  your  pro- 
jection problem  in  war  train- 
ing and  industrial  education. 
Provides  clearer  visibility  for 
larger  audiences.  The  Film- 
atic  is  built  like  a  pro- 
fessional model — yet  is  easily 
portable.  Has  corrected  pro- 
jection lens  (5"  f!35).  Uses 
300,  200  or  100  watt  lamps. 
Complete    with    switch,    cord 

I  and    custom-built    carrying 

'  case. 


^^^  AIR-FLO 
STEREOPTON 


4bo ve  /ferns  Are 
Available  Now  on 
Proper    Prior/fy    for 

Army    and    Navy    .    . 
Maritime     bases     .    . 
Lend-lease    .    .    .    Wa 
Industries   .   .   .   Govern 
ment    Agencies     .     . 
Medical  Professions  .  . 
Pre-tnduction    Schools. 


•  Forced-Air  Cooled 

•  Takes   up    to    1000 
WaH  Lamps 

Pre-Focus  Socket  Aligns 
Filament  on  Optical  Axis 

All  Steel-Welded  Structure 

•  Built-in  Tilting  Device 

•  Choice  of  Lenses 

•  Fully   Adjustable    Bellows 

Developed  to  meet  today's  needs 
in  training  centers  and  schools. 
Cooler-operating  .  .  .  for  long 
projection  distances.  Shows 
standard  stereopticon  slides. 
Has  powerful  but  quiet  high 
speed  motor.  Three  ground  and 
polished  lens  furnished.  30^'  long 
overall.     Conveniently    portable. 


GoldE    MANUFACTURING    CO. 

11]0    WEST    MADISON    STIEET    •    CHICAGO    7.    U.S.A. 


Page   3  56 


The  Educational  Screen 


Enjoy  Greater  Variety 

HAL  ROACH 


Feature  Releases 

on  16inin.  sound 

CAPTAIN  CAUTION— Victor  Mature,  Leo  Carrillo,  Bruce 
Cabot    in   Kenneth   Roberts*   historical    saga    of   the   sea. 

SAPS  AT  SEA — Stan  Laurel  and  Oliver  Hardy  head  into 
a  gale  of  merriment  and  blow  the  gloom  hatches  sky- 
high  in  their  antics  on  the  briny  deep. 

THERE  GOES  MY  HEART— Fredric  March  and  Virginia 
Bruce  in  an  absorbing  newspaper  story. 

ZENOBIA  (An  Elephant  Never  Forgets) — Oliver  Hardy, 
Harry  Langdon,  Billie  Burke  in  a  bright,  original  pic- 
ture. See  and  hear  Zeke  recite  the  Introduction  to  the 
Declaration  of  Independence. 

TOPPER  TAKES  A  TRIP  — Constance  Bennett,  Roland 
Young  in  an  unusual  comedy  full  of  camera  tricks. 

CAPTAIN  FURY— Brian  Aherne,  Victor  McLaglen  in  a 
thrilling  story  of  Australia's  Robin  Hood. 

THE  HOUSEKEEPER'S  DAUGHTER— Joan  Bennett  and 
Adolphe   Menjou   in   a   laugh-packed   comedy. 

A  CHUMP  AT  OXFORD— Stan  Laurel  and  Oliver  Hardy 
at  their  funniest  in  a  comedy  about  life  at  Oxford 
University. 

OF  MICE  AND  MEN — Burgess  Meredith,  Betty  Field,  Lon 
Chaney,  Jr.  in  John  Steinbeck's  great  drama. 

ONE  MILLION  B.  C. — Victor  Mature,  Carole  Landis,  Lon 
Chaney,  Jr.  in  an  unusual  prehistoric  setting. 

TURNABOUT — Adolphe    Menjou     and     Carole     Landis    in 
Thorne   (Topper)   Smith's  most  hilarious  novel. 
Available  at  your  film  library. 

Send   for    our    Free    Catalog   with   complete    list   of   many    other 
educational    and    recreational    16    mm.    sound    films. 

POST  PICTURES  CORP. 

Dept.  10  New  York  19.  N.  Y. 


723  Seventh  Ave. 


ov 


et'" 


pS<^^  we'll  be  glad  to 
supply  you  again 
with  new 


HOLMES 


SOUND 
ON-FILM 


PROJECTORS 


Right  now  our  Government  requires  every  machine 
we  can  produce,  but  when  the  time  comes,  you  can 
look  forward  to  Holmes  Projectors  embodying  the 
same  advanced  design  and  engineering  skill  that 
Holmes  machines  have  always  had.  In  the  mean- 
time, orders  for  parts  will  receive  the  best  possible 
attention. 


PROJECTOR 
COMPANY 

1813  ORCHARD  STREET  CHICAGO  14 

Manufacturers  of   16mm  and  35mm  Sound-on-Film 
Projectors  for  over  25  years  to  Dealers  and  Users 


SLIDES  General  Science 11  rolls 

OK   -„,„  Principles  of  Physics 7  rolls 

**'*  ™™*  Principles  of  Chemistry 8  rolls 

F  I  Li  ]II  Fundamentals  of  Biology 8  rolls 

Write  for  Folder  and  Free  Sample  Strip 

VISUAL     SCIE]VCES,  \Siz  Suffern,  New  York 


pictures  released  to  date  have  been  shown  in  500  plants 
about  900  times  a  month,  to  an  audience  of  between  five 
to  six  hundred  thousand.  Nineteen  releases  are  on  the 
Navy's  schedule  for  1943-44.  .'\mong  those  already 
shown  are :  Full  Speed  Ahead,  This  Is  Guadalcanal, 
The  Life  and  Death  of  the  Hornet,  The  Navy  Flies  On, 
and  December  7 . 

School  Broadcast  Conference  November  28-30 

The  Seventh  Annual  Meeting  of  the  School  Broad- 
cast Conference  is  scheduled  for  November  28,  29,  30 
at  the  Hotel  Morrison.  Chicago. 

Mr.  William  D.  Boutwell  of  the  U.  S.  Office  of  Edu- 
cation, will  be  one  of  the  speakers  on  the  subject 
"What  Radio  Should  Mean  to  You,"  at  the  opening 
session  Monday  morning.  School  utilization  of  radio 
programs  will  be  demonstrated  by  elementary  classes 
and  then  discussed  by  a  panel  of  selected  Resource 
Persons.  At  a  General  Session  Tuesday  morning,  M. 
Medora  Roskilly,  Vocational  and  Adult  Education 
School,  Racine,  Wisconsin,  will  speak  on  "The  Use  of 
Audio- Visual  Aids  in  a  Basic  Social  Science  Course." 
Following  this  address  will  be  a  simulated  Town  Meet- 
ing Broadcast  on  "Aviation  in  the  Post-War  World," 
by  students  of  Bloom  Township  High  School,  and  a 
showing  of  the  Erpi  film,  The  Airplane  Changes  the 
World  Map.  A  session  on  Script  and  Production 
Workshop,  and  a  teachers  Radio  Clinic,  under  the 
chairmanship  of  Major  Harold  W.  Kent,  Liaison,  War 
Department  and  U.  S.  Office  of  Education,  will  ofTer 
teachers  an  opportunity  to  exchange  their  experiences 
and  discuss  various  problems. 

SMPE  Semi-Annual  Meeting 

The  Society  of  Motion  Picture  Engineers  devoted 
one  afternoon  of  their  five-day  Hollywood  session. 
October  18-22.  to  reports  on  production  activities  of 
Government  agencies.  A  symposium  of  papers  from 
the  Bureau  of  .Aeronautics,  Navy  Department,  told  of 
the  production  of  Navy  training  films  by  the  Training 
Film  Branch,  Photographic  Division,  which  is  headed 
by  Lt.  Orville  Goldner.  Lt.  Commander  Patrick  Mur- 
phy, Chief  of  Visual  Training  Section,  U.  S.  Coast 
Guard  illustrated  his  paper  on  the  Coast  Guard  pro- 
duction program  with  a  special  training  film.  The  de- 
velopment and  work  of  the  First  Motion  Picture  Unit 
of  the  Army  Air  Force  at  Culver  City  was  presented 
by  Major  Arthur  Birnkrant  in  a  paper  titled  "Cinema- 
tography Goes  to  War."  "Walt  Disney  Studio — a  War 
Plant,"  by  Carl  Nater,  Production  Co-ordinator,  .A.rmy 
and  Navy  Training  Films,  Walt  Disney  Productions, 
describes  the  "changeover"  in  motion  picture  product  at 
the  Disney  Studio  and  the  problems  encountered.  Be- 
tween 90  and  95%  of  the  facilities  of  that  organization 
are  now  devoted  to  producing  training  films  for  the 
Armed  Forces,  Coordinator  of  Inter-American  Affairs, 
the  Treasury  Department  and  other  governmental 
agencies. 


November,   194} 


Page  3)7 


flNER  HEALTH  FILMS! 


"VIM,  VIGOR  and  VITAMINS" 

10  Mln.  Umm  Sound     Rtntol  $1.50  Sale  S40 


FREE! 

Htalth  Film 
Folder 

Write    Depf.    ES-II 


imimiu 


1600  BROADWAY 
NEW  YORK  19,  N.  Y. 


Meetings  of  Visual  Education  Groups 

The  Visual  Education  Section  of  the  Indiana  State 
Teachers  Association,  which  was  held  in  Indianapolis 
last  month,  presented  as  its  principal  speaker.  Miss 
I-'lizaheth  Golterman,  Acting  Director  of  the  Depart- 
ment of  Visual  Education  of  the  St.  Louis  Public 
Schools.  The  subject  of  her  address  was  "The  Role  of 
Audio-Visual  Instruction  in  Post-War  Education." 
Mr.  L.  C.  Larson,  Chairman  of  the  Board  of  Directors 
of  the  Educational  Film  Library  Association,  and  Con- 
sultant in  Audio- Visual  Aids  at  Indiana  University,  dis- 
cussed "The  Public  School  Services  of  Educational 
Film  Library  Association." 

Mr.  Raphael  Wolfe,  President  of  the  Visual  Educa- 
tion Section  and  Director  of  Visual  Education  at  Howe 
High  School,  presided  over  the  session. 

▲  ▲ 

The  New  Jersey  Visual  Education  Association  con- 
vened in  New  York  City  November  11-13,  with  Dr. 
Grant  W.  Leman,  Bogota,  presiding.  Friday  morning 
was  devoted  to  a  tour  through  the  American  Museum 
of  Natural  History,  sponsored  by  the  Museum  Staff. 
The  following  afternoon  session  featured  an  illustrated 
lecture  on  "Primitive  Life  of  the  Eastern  Algonquins" 
by  Charles  A.  Philhower,  president  of  the  New  Jersey 
Education  Association.  Dr.  Derwent  Whittlesey,  Head 
of  Department  of  Geology  and  Geography,  Harvard 
University,  gave  an  address  on  "The  New  Geography 
for  the  New  Age." 

▲  ▲ 

Members  of  the  Minnesota  Teachers  Association 
assembled  in  seven  Wartime  Division  Conventions  last 
month.  Guest  speaker  on  the  Visual  Aids  program  at 
the  Southeast  Division  meeting  in  Winona,  was  Miss 
Lelia  Trolinger,  Director,  Bureau  of  Visual  Instruction, 
**  University  of  Colorado  and  Secretary-Treasurer  of  the 
Department  of  Visual  Instruction. 

The  Film  and  International  Understanding 

(Continued  from  page  337) 

understanding  of  what  we  stand  for,  what  we  toil  for, 

what  we  fight  for  .  .  . 

"These  films  are  informative.  They  give  a  good  idea 
of  the  peaceful  atmosphere  in  which  the  interested  coun- 
tries lived  before  they  were  invaded  .  .  .  They  tell  of  the 
happiness,  the  sober  labor  and  the  civilization  of  mil- 
lions of  human  beings,  of  life  itself  and  the  perfecting 
of  life  through  the  progress  to  which  so  many  genera- 
tions contributed  and  which  the  Nazis  have  set  out  to 
destroy. 

"These  films  also  bring  to  the  screen  the  grim  reality 
of  war." 

It  is  only  natural  to  expect  that  the  cooperative  ex- 
perience gained  in  the  use  of  these  films  and  in  their 
distribution  by  all  these  nations  will  contribute  much 
to  any  post-war  plans  for  world  education  through  the 
use  of  films. 


EDUCATION 

OR 

ENTERTAINMENT 

.. .  /Ae  Wsuo/  IVoy  is  the  Best  Way 

Whether  if  $  world  affairs  or  home 
affairs  .  .  .  the  war  front  or  the  political  front 
.  .  .  the  thrills  of  your  favorite  sport  in  or  out 
of  season  .  .  .  travel  in  America  or  the  four 
corners  of  the  earth  ...  or  Hollywood's  greatest 
stars  in  their  greatest  pictures  .  .  .  the  motion 
picture  is  the  great  medium  of  expression! 

Here  are  some  of  the  outstanding  dramatic, 
musical  and  comedy  successes  pronounced  by 
leading  motion  picture  critics  as 


Pictures  You  Must  ISot  Miss" 

DEANNA  DUBBIN 

.   .    .   great  singing    itar  in 

THE  AMAZING 
MRS.  HOLLIDAY 

HERS  TO  HOLD 

• 

WHEN  JOHNNY  COMES 
MARCHING  HOME 

with    Allan   Jones.    Phil 


ABBOTT  &  COSTELLO 

.  .  .  the  comedy  team  voted 
America's  number  one  funny 
men  in 

WHO  DONE  IT 
IT  AINT  HAY 
HIT  THE  ICE 


Spitalny   and    His    All- 
Girl   Orchestra 


DONALD  O'CONNOR 

the  people's  own  young  fa 
vorite  in 

MISTER  BIG 
IT  COMES  UP  LOVE 

•  • 

GET  HEP  TO  LOVE  with  lovely  liHle   GLORIA  JEAN 

And  These  Great  Pictures  iVoir  Showing 
at  Your  Favorite  Theatres 

CORVETTE  K.225 

starring  Randolph  Scott 

PHANTOM  OF  THE  OPERA 

in  Technicolor  starring  Nelson  Eddy. 
Susanna  Foster  with  Claude  Rains 


OLSEN  &  JOHNSON'S 
CRAZY  HOUSE 

.  .  .  their  greatest  show  for  mirth! 

UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


Page  358 


The  Educational  Screen 


American  troops  landing  under  fire  at  Salerno. 


"Jitm  J\[, 


(Official   U.   S.   Navy  photo  from   Acme) 

Casile  1943  News  Parade 


ALL  the  momentous  liappenings  in 
world  affairs  since  the  beginning  of 
this  year  are  visualized  in  News  Parade 
of  the  Year — 1943.  which  has  just  been 
released  by  Castle  Films,  Inc.,  30  Rocke- 
feller Plaza,  New  York  City. 
As  in  previous  AVic  Parades,  this  popu- 


lar annual  release  skillfully  compresses 
the  year's  history  into  a  single  reel.  Every 
event  of  outstanding  importance  is  por- 
trayed, including  such  unusual  motion 
pictures  as  the  wrecking  of  the  French 
fleet  at  Toulon,  taken  by  German  news- 
reel  cameramen,  scenes  from  Russia  of 
the  great  summer  offensive,  battles  with 
U-boats  in  the  Atlantic,  MacArthur's 
two-prong  drive  in  the  Solomons  and 
New  Guinea,  and  scenes  taken  from  Fly- 
ing Fortresses  while  bombing  German 
war  plants. 

In  addition  to  the  many  schools  wliich 
regularly  include  this  significant  film 
document  in  their  permanent  libraries  of 
films,  it  is  also  used  extensively  by  the 
Armed  services  in  camps  and  battlefront 
rest  areas  because  of  its  informative  and 
morale-building  values. 

The  AVii'j  Parade  is  available  in  8mm 
silent,  16mm  silent  and  sound  film. 


Flying    Fortresses 
over  Stuttgart 


( Press  Asso. ) 


(Acme) 


Allied  soldiers  troop 

past  the  New  Ruins 

of    Paestum,   in    the 

Naples  area. 


£074. 


■  Eastm.an  Kodak  Company.  Roches- 
ter, New  York,  in  cooperation  with 
Colonial  Williamsburg,  has  produced 
an   experimental   documentary   film  on 

Eighteenth  Century  Life  in  Williams- 
burg, Virginia  —  4  reels  in  16mm 
Kodachronie  and  sound.  The  picture 
is  unique  in  focusing  exclusively  on 
the  eighteenth  century  manner  of  liv- 
ing. It  has  no  plot,  no  exciting  epi- 
sodes. In  it  the  clock  is  simply  turned 
back  a  couple  of  hundred  years  to  let 
us  experience  a  day  in  a  typical  colonial 
town.  It  gives  a  vivid  and  historically 
accurate  picture  of  our  colonial  era. 
No  attempt  is  made  to  review  the 
history  of  Williamsburg^  or  to  tell  the 
story  of  its  rebirth.  The  primary  pur- 
pose of  the  film  is  to  show  modern 
Americans  the  type  of  soil  in  which 
the  seeds  of  our  liberty  and  democracy 
were   planted. 

The  film  furnishes  an  interesting 
demonstration  of  the  effective  way 
motion  pictures  can  teach  history,  to 
adults  as  well  as  children,  through  an 
intelligent  use  of  the  facilities  of  mu- 
seums, educational  institutions  and  cul- 
tural shrines. 

The  four  reels  are  arranged  in  three 
units — "Home  Life"  (comprising  2 
reels),  "Eighteenth  Century  Cabinet 
making,"  and  "Community  Life."  Each 
may  be  purchased  separately.  The  film 
is  offered  to  educational  institutions 
without  charge  for  single  showings. 
I-"or  complete  information  write  to  the 
Eastman  Kodak  Company,  Informa- 
tional Films  Division,  Rochester,  N.  Y. 

■  Waltek  O.  Gutlohn,  Inc.,  25W.  45th 
St,  New  York  City,  announces  the  16mm 
sound  release  of  one  of  Frank  Buck's 
greatest  wild  animal  pictures,  called : 

Jungle  Cavalcade — 8  reels — a  thrill- 
ing story  of  the  Malay  jungles  combin- 
ing all  the  outstanding  sequences  of 
"Bring 'Em  Back  Alive,"  "Wild  Cargo" 
and  "Fang  and  Claw."  In  the  film 
are  seen  the  daring  capture  of  a  giant 
orang-outang,  the  wild  elephant  hunt, 
a  fight  between  a  30-foot  python  and 
a  Royal  Bengal  tiger,  the  battle  of  a 
black  panther  with  a  crocodile,  and 
other  breath-taking  scenes  of  wild  life 
fighting  for  its  existence. 

■  Official  Films,  Inc.,  625  Madison 
Ave.,  New  York  City,  have  issued 
Volume  4  of  their  1943  News  Thrills 
series,  recording  the  following  events  in 
one  reel : 

Irvasion  of  Europe — American  and 
British  troop  landings  on  the  European 
con'inent; 

r.aly  Surrenders — events  which  fol- 
lowed the  fall  of  Mussolini; 

Ploesti  Bombed — the  big  raid  on  the 
Rumanian  oil  fields. 

Also  just  released  by  Official  are  two 
new  Sportbeanis,  namely : 

Wrestling  Thrills — the  world's  old- 
est sport  as  practiced  today; 

(Concluded  on  page  362) 


November,  1943 


Page  359 


lliiS 


iJ^"" 


I 


-^^ 


[volution  vs  Revolution" 

in  Modern  Training  Methods 

Improvements  in  teaching  methods  are  the 

result  of  common  sense  evolution.  Our 

armed  forces  eagerly  utilized  the  audio-visual 

aids  that  progressive  educators  had  found  so 

effective.  Our  schools,  in  turn,  are  learning  valuable 

lessons  from  the  gigantic  U.S.  film  training  program. 

The  inevitable  result  will  be — better  teaching! 

*  Today — all  Ampro  projectors  go  into  the  war 

program.  But  after  D-Day — AMPRO  will  use  its  added 

skill  to  aid  the  evolutionary  changes  in 

teaching  methods  *  Write  for  Ampro  Catalog  of 

8mm.  and  16mm.  silent  and  sound  projectors. 


douu  ~^ai>  ^BcntiS 


Ampreseund  Mo4*i  YSA 


Ampro     Corpora  t  I  o  n 


'^^^Wg-'MWi'^W 


Chicoflo     18,     III.     9Tistiii9n     Cini     fqwipmow^ 


Page   360 


The  Educational  Screen 


czn-moncj  ins  iJ^%oducE%± 


New  List  oi  Slideiilms  ior 
Pre-Induction  Training  Courses 

The  Pre-Induction  Training  Section 
of  the  War  Department  and  the  U.  S. 
Office  of  Education  have  cooperated  in 
reviewing,  selecting  and  listing  visual 
training  aids  for  PIT  courses.  The 
various  slidefilm  and  motion-picture  pro- 
ducers and  distributors  are  assisting  in 
making  this  list  available  to  all  schools. 
In  the  meantime,  the  Society  for  Visual 
Education,  Inc.,  has  prepared  a  special 
list  of  the  S.V.E.  slidefilms,  selected 
for  PIT  courses.  The  list  is  available 
for  free  distribution. 

The  S.V.E.  list  includes  several  sub- 
jects in  each  of  the  following  funda- 
mentals: Pre-Flight,  Physical  Fitness, 
Electricity,  Radio,  Machines,  Shop  Work 
and  Automotive  Mechanics.  The  list 
also  includes  three  new  slidefilms  on  Job 
Opportunities  in  the  Military  and  Mari- 
time Services,  and  three  in  Elementary 
Meteorology,  which  are  in  great  demand 
among  schools. 

The  S.V.E.  Aircraft  Identification  Kit, 
which  was  prepared  by  the  aviation 
experts  on  the  staff  of  Flying,  is  be- 
ing kept  up-to-date  by  the  addition  of 
new  aircraft  silhouettes  as  rapidly  as 
information  becomes  available.  Silhou- 
ettes of  five  additional  aircraft  are  now 
available.  These  include  the  following: 
118— Lockheed  Hudson  (A-39,PBO), 
119— Boeing  Sea  Ranger  (PBB,)120— 
Heinkel  He-113,  121— Heinkel  He-115, 
122— Fieseler  Storch  (Fi-156K.)  There 
are  three  silhouettes  of  each  aircraft 
— bottom,  side  and  head-on  views..  The 
Instructor's  Manual,  to  accompany  the 
Aircraft  Identification  Kit,  has  been  re- 
vised and  brought  up-to-date.  It  is  avail- 
able without  charge  to  those  who  have 
purchased  tlie  kits  earlier  and  is  furnished 
to  others  at  25  cents  a  copy. 

Copies  of  the  printed  folder,  "Slide- 
films  for  Pre-Induction  Training,"  may 
be  secured  from  the  Society  for  Visual 
Education,  Inc.,  100  East  Ohio  Street, 
Chicago  11,  Illinois. 

DeVry  Smm  Design  Competition 

Wide  and  favorable  has  been  the  re- 
ception of  DeVry  Corporation's  Smm 
Camera  &  Projector  Design  Competition, 
which  seeks  ideas  for  postwar's  general- 
purpose  motion  picture  equipment,  accord- 
ing to  W.  C.  DeVry,  the  company's 
president.  The  competition  closes  at 
midnight  December  31st.  It  offers 
$1500.00  in  U.S.  War  Bonds  (maturity 
value)  for  camera  and  projector  de- 
sign ideas  and  mechanical  refinements. 
Amateurs  are  assured  equal  opportunity 
with  professional  camerman  and  project- 
ionist to  share  awards  that  rate  drawing 
or  mechanical  skill  secondary  to  the 
mechanical  or  design  idea  suggested  by 
the  contestant.  Ideas  that  make  for 
easier  filming  and  projecting  are  de- 
sired. 

"The  war  is  bringing  thousands  of  men 


and  women  within  range  of  the  mechanics 
of  motion  picture  taking,  developing  and 
projection,"  says  Mr.  DeVry.  "These 
thousands  will  return  to  civilian  life 
with  new  interests,  new  hobbies.  We 
have  every  reason  to  believe  that  for 
new  thousands,  one  of  these  new  interests 
will  be  amateur  movies." 

Mr.  DeVry  traces  the  development  of 
other-than-professional  Hollywood  type 
35mm  motion  pictures  through  less  costly 
16mm  filming  and  projection.  "The 
present  ultimate  of  combined  economy 
and  effective  results  for  the  average 
individual  is  the  Smm,"  he  says.  "Its 
postwar  potentiality  is  difficult  to  esti- 
mate." 

According  to  Mr.  DeVry,  the  need  is  for 
further  streamlining  of  camera  and  pro- 
jector design  toward  easier  portability 
and  accessibility  of  camera,  and  perhaps 
increased  decorative  practicability  of  pro- 
jectors   for    home    use. 

Slidefilm  Unit  on  Mathematics 

In  recognition  of  the  vital  importance 
of  mathematics  in  connection  with  many 
phases  of  wartime  training  and  educa- 
tion, and  particularly  in  the  field  of 
aeronautics,  the  Jam  Handy  Corpora- 
tion, 2900  E.  Grand  Blvd.,  Detroit,  has 
created  a  series  of  slidefilms  Light  on 
Mathematics,  now  available  to  instructors 
everywhere. 

There  are  24  subjects  in  the  series, 
with  a  total  of  1187  separate  illustra- 
tions— drawings,  special  photographs, 
charts,  diagrams  and  pictorial  exhibits. 
Intended  primarily  as  a  "refresher"  course 
'11  the  fundamentals  of  the  subject,  the 
series  is  designed  to  have  a  wide  range 
of  utility  in  the  present  emergency,  par- 
ticularly along  the  lines  of  technological 
studies  most  of  which  must  rest  upon  a 


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Slidefilms  from  mathematics  series 


solid  groundwork  in  mathematics.  An- 
alogy is  freely  used  throughout,  simpli- 
fying the  process  of  refreshing  the 
student  on  processes  and  concepts 
mastered  by  filling  in  many  of  the  gaps 
in  learning  and  in  posing  new  concepts 
and  developing  new  skills  prerequisite 
to  special  training  lor  wartime.  The 
series  provides  (a)  new  material  for 
direct  teaching  (b)  for  review  (c)  for 
examinations,  and  reteaching  in  regular 
math  classes — arithmetic,  algebra  and 
geometry  and  trigonometry — and  has 
been  designed  to  aid  the  instructor  in 
reducing  12  years  of  elementary  and  high 
school  mathematics  to  its  simplest,  basic 
elements.  Letterings,  legends  and  labels 
superimposed  on  the  films  elaborate  and 
clarify    the   subject    matter. 

Titles  of  the  24  subjects  are:  "Five 
Keys  to  Mathematics,"  "Addition  and 
Subtraction,"  "Multiplication  and  Divi- 
sion," "Fractions,  Decimals  and  Per- 
centages," "Addition  and  Subtraction 
of  Fractions,"  "Multiplication  and  Di- 
vision of  Fractions,"  "Squart  Roots," 
"Order  of  Operations,"  ".\ddition  and 
Subtraction  in  Geometry,"  "Multiplica- 
tion and  Division  in  Geometry,"  "An- 
gular Measurement,"  "Constructions," 
"Scales  and  Models,"  "Vectors," 
"Trigonometry,"  "Positive  and  Nega- 
tive Numbers,"  "Rations  and  Propor- 
tions," "Exponents  and  Logarithms," 
"Arithmetic  of  .Algebra,"  "Equations 
and  Formulas,"  "Problem  Analysis," 
"Graph  Uses,"  "Plotting  Graphs," 
".Analytic  Geometry." 

$50.00  Prize  "Film-Idea"  Contest 

Audio-Film  Studios,  1614  Washing- 
ton Street,  ^'ancouver,  Washington, 
offers  a  prize  of  $50.00  in  a  contest 
for  the  best  outline  submitted  for  a 
movie  to  be  produced  by  this  organi- 
zation for  school  showing.  The  con- 
test is  open  to  "any  member  of  the 
teaching  profession,"  and  the  rules  call 
for  a  detailed  outline  of  a  motion 
picture  the  contestant  would  like  to  see 
made  for  the  school  screen.  It  can  be 
curricular  or  non-curricular  in  content. 
It  will  be  judged  on  wide  appeal,  long- 
term  value,  originality  and  production 
feasibility.  Only  one  outline  will  be 
selected,  but  contestants  may  submit 
more  than  one  idea.  Mr.  L.  N.  Chris- 
tiansen, head  of  Audio-Film  Studios 
states:  "I  believe  that  a  film  produced 
from  an  outline  most  representative  of 
a  large  number  of  teachers'  ideas  as  to 
type  of  film  they  would  like  to  see 
produced,  would  be  of  real  interest  to 
schools  generally,  and  I  feel  this  con- 
test should  bring  some  first-rate  ma- 
terial." 

RCA  Booklet  on  the 
School  of  Tomorrow 

Increased  attention  to  audio-visual  edu- 
cation in  America's  postwar  schools  is 
foreseen  in  a  colorful  20-page  brochure 
just  published  by  the  Educational  De- 
partment of  the  RCA  Victor  Division, 
Radio  Corporation  of  America,  Camden, 
N.  J.  Anticipating  this  trend  in  the 
(Concluded  on  page  362) 


November,  1943 


Page  361 


Miss  Miller's  geography  class  is  off  to 
Africa  with  Count  Byron  de  Prorok, 
famed  archeologist  of  thirty  far-flung 
expeditions. 

"Ancient  Trails  in  North  Africa"  is 
more  than  a  pleasant  travelogue.  It  re- 
veals the  history  of  man  in  this  forgot- 
ten part  of  the  earth  . . .  traces  his  devel- 
opment from  antiquity  to  the  present 
day.  Count  de  Prorok  toured  army 
camps  to  lecture  and  show  this  film  to 
troops  preparing  for  the  African  in- 
vasion. 

"Ancient  Trails  in  North  Africa"  is 
now  available  from  the  B&H  Filmo- 
sound  Library,  for  your  use  in  supple- 
menting regular  classroom  work. 

The  already  huge  list  of  Filmosound 
Library  titles  is  being  augmented  almost 
daily  by  Government  films.  One  of  the 
finest  thus  far  is  "Wings  Up."  It's  the 
fascinating  story  of  the  U.  S.  Air  Corps 
Officer  Candidate  School.  You'll  be  in- 
spired by  the  caliber  of  the  men  and  the 
"brass  tacks"  practicality  of  their  train- 
ing. It's  a  grand  film  for  American 
Education  Week,  Nov.  7-13.  The  theme 
of  the  observance  this  year  is  "Educa- 
tion for  Victory,"  ideally  symbolized 
by  this  great  film.  Clark  Gable  does  the 
commentary. 


HItl'S  AN  IXCILLINT  OUIDI  TO  THI 
FILMS  YOU  WANT 

Especially  to  help  teachers  fit  films  into 
the  programs  of  their  classes,  we've 
developed  the  "Educational  Utilization 
Digest."  In  simple,  easy-to-use  chart 
form,  every  film  is  evaluated  for  its 
worth  in  supplementing  classroom 
work  on  almost  all  school  subjects— 
and  for  its  application  to  the  different 
school  age  groups. 

The  Digest  plus  the  Filmosound 
Library  Catalog  and  supplements  are  all 
you  need  to  build  motion  picture  pro- 
grams that  fit  your  teaching  problems. 

The  coupon  will  bring  both  .  .  . 
promptly. 

Bell  &  Howell  Company,  Chicago; 
New  York;  Hollywood;  Washington, 
D.  C;  London.  Established  1907. 


The  Fllni»«ound  V". — ,  now  being  made  exdu. 
sively  for  the  Armed  Forces,  is  a  product  of  real 
engineering  skill  .  .  .  for  despite  restrictions  of 
critical  materials,  this  fine  projector  maintains 
traditionally  high  B&H  performance  standards. 

These  Irlnf  Theater  ttumlltr  PrafedfMi  re  Uhool 


Fllmvc  Itmm. 

Prejectir 

Flhno  Muter 
ISmm.  Prelector 

■•9/n  Nsw  te  Han 

S€hool-Ma6»  Movitt 

for  after  the  War 


Filtno  Showmaster 
16mm.  Projector 


Qpfi\onics 


rKiimiril 


JQS&LSSSr 


k*Optl-onlcs  is  OPTICS  .  .  .  elec- 
1  trONics  .  .  .  mechanics.  It  Is  re- 
search and  engineerinft  by  Bell  & 
Howell  Id  these  three  related 
sciences  to  accomplish  many 
ttiinfts  never  before  obtainable. 
I  oday  Opti-onirs  Is  a  WEAPON, 
lomorrow,  it  will  be  a  SERVANT 
.  .  to  work,  protect,  educate, 
.inJ  entertain. 


■k    BUY  WAR  BONDS    * 


Products  combining  the  tciencx  of  OPTIct  •  •/•efrONics  •  macAonfCS 


BELL  &  HOWELL  COMPANY 
1817  Larchmonl  Ave.,  Chicago  13,  lU. 
Please  send  me  the  Filmosound  Library  Catalog 
and  Utilization  Digest. 


PRECISION-MADE    BY 


Same 

Addreu. 


CSe^  an^  (^oii/e^ 


City State 

School ES  11-43 


Page  362 


The  Educational  Screeu 


nation's  educational  system,  RCA  out- 
lines its  postwar  suggestions  to  educa- 
tors in  the  booklet,  "Planning  Tomor- 
row's  Schools." 

The  school  sound  system,  already 
adopted  by  thousands  of  schools  and 
expected  to  be  even  more  widely  utilized 
in  the  future,  the  booklet  says,  provides 
a  quick,  easy  distribution  of  radio  pro- 
grams, phonograph  recordings  and  on- 
the-spot  vocals,  as  well  as  serving  as  a 
time-saving  communication  center  for  the 
school  administrator.  Public  address 
equipment  likewise  can  be  employed  to 
advantage  in  the  school  auditorium,  gym- 
nasium or  athletic  stadium.  Certain 
provisions  should  be  made  during  school 
building  construction  for  future  develop- 
ments. 

Greater  use  of  phonograph  recordings 
is  also  visualized  for  the  school  of  to- 
morrow, with  students  able  to  hear 
famous  actors  in  recorded  presentations 
of  plays,  historic  speeches  and  diction 
lessons ;  foreign  languages  made  easier 
through  recordings  by  linguistic  experts ; 
and  the  world's  best  music  brought  from 
the  concert  hall  to  the  class   room. 

As  for  visual  aids,  RCA.  research 
is  reported  to  be  developing  improved 
motion  picture  projectors  for  classrooms 
and  auditoriums.  The  Electron  Micro- 
scope will  be  made  available  to  schools 
and  colleges  throughout  the  country.  Up- 
to-date  test  and  demonstration  equip- 
ment can  be  installed  in  science  labora- 
tories. 

Charles  R.  Crakes, 
Educator,  with  DeVry 

Charles  R.  Crakes  has  joined  DeVry 
Corporation,  Chicago,  as  Executive  Con- 
sultant on  Visual  Education.  Mr.  Crakes 
will  be  available  without  obligation  or 
expense  to  educators  interested  in  start- 
ing now  to  plan,  prepare  and  equip  their 
schools  for  postwar's  predicted  expansion 
in  the  use  of  visual  training  aids  in  all 
departments   of  education. 

For  the  past  20  years,  Mr.  Crakes  has 
served  as  director  and  advisory  adminis- 
trator of  visual  education  for  the  public 
school  system  at  Moline,  III.  His  ex- 
perience includes  two  years  as  public 
school  superintendent,  10  years  as  high 
school,  and  three  years  as  junior  high 
school  principal — also  eight  years  of 
practical  teaching.  He  holds  B.  A.  and 
M.A.  degrees  from  Northwestern  Uni- 
versity. 

Of  him  and  the  work  planned  for  De 
Vry's  educational  consultant  activities, 
Wm.  C.  DeVry  says :  "During  the  past 
20  years,  Mr.  Crakes  has  been  actively 
engaged  in  the  study  and  development  of 
a  strong  and  properly  functioning  visual 
education  program  for  public  schools, 
on  all  levels  from  1st  to  12th  grade.  Fol- 
lowing the  example  of  its  founder,  Dr. 
Herman  A.  DeVry,  our  company  has 
endeavored  always  to  be  in  the  fore- 
front of  visual  teaching  development.  In 
Mr.  Crakes,  we  believe,  we  have  a  spear- 
head for  practical,  proved  and  usable 
guidance  for  the  progress  in  visual  edu- 
cation that  is  bound  to  result  from  war- 
time  experience." 


Current  Film  News 

(Concluded  from  page  35S) 

Winter  Sports — skiing,  skating,  bob- 
sledding,  tobogganing,  etc.  demon- 
strated by  champions. 

New  subjects  are  available  in  Official's 
animated  cartoon  series — The  Little 
King  Cartoons,  Brozvnie  Bear  Cartoons, 
Dick  atid  Larry  Cartoons.  The  Little 
King  in  Christmas  Night  is  a  good  sub- 
ject to  remember  when  planning  holiday 
programs. 

A  new  24-page  "Pocket-Size"  illus- 
trated catalog,  covering  close  to  100 
subjects  in  8mm  and  16mm,  silent  and 
sound,  has  just  been  published  by  Official 
Films.  A  free  copy  can  be  obtained  upon 
request. 

■  Bei.l  &  Howell  Co.,  1801  Larchmont 
Ave.,  Chicago,  report  that  a  series  of 
visual  education  units,  on  "Optical 
Craftsmanship,"  each  consisting  of  a  ten 
to  fifteen-minute  16mm  sound  motion  pic- 
ture, a  35mm  filmstrip  and  a  sixteen- 
page  manual,  has  just  gone  into  pro- 
duction, under  the  joint  auspices  of  the 
Navy  and  of  the  United  States  Office  of 
Education.  Titles  of  the  units  are :  Finger 
Grinding,  Pin-Bar  Grinding,  Fine  Grind- 
ing, Pitch  Buttoning  and  Blocking, 
Polishing,  Centering  and  Cementing. 


Naval  Technicians  confer  with  W. 
F.  Kruse,  director  of  optical  films. 

In  answer  to  a  question  as  to  why 
this  field  was  being  fostered  so  ex- 
tensively. Commander  E.  B.  Oliver,  of 
the  Bureau  of  Ships,  Navy  Department, 
explained  that  outbreak  of  the  war  has 
made  imperative  the  immediate  large- 
scale  expansion  of  American  production 
of  precision  optics.  "Optics  are  the  'eyes 
of  the  Navy,'  and  you  can't  fight  very 
well  without  eyes,"  he  said.  Every  manu- 
facturer he  has  approached  to  take  on 
the  production  of  naval  optical  devices 
complained  of  lack  of  skilled  manpower. 
There  was,  furthermore,  practically  no 
material  available  for  the  training  of 
the  new  unskilled  hands  that  had  to  be 
drawn  by  the  thousands  into  the  infant 
industry.  After  consultation  with  the 
War  Manpower  Commission,  it  was  de- 
cided to  add  this  vital  new  field  of 
manpower  training  to  the  machine-shop, 
shipbuilding,  welding  and  other  crafts  in 
which  the  USOE  films  have  rendered 
noteworthy  aid. 

When  completed,  the  optical  films,  like 
all  other  USOE  films,  will  be  rented  and 
sold  through  the  Bell  &  Howell  Film- 
sound   Library. 


■  Post  Pictures  Corporation,  723  Sev- 
enth Ave.,  New  York  City,  has  just 
issued  a  new  catalog  of  its  exclusively 
controlled  16mm  sound  films.  Included 
are  major  Hollywood  features  avail- 
able for  the  first  time  in  this  size. 

These  include  Broadu'ay  Limited,  with 
Victor  McLaglen ;  Captain  Caution,  with 
Victor  Mature  and  Leo  Carillo;  Saps  at 
Sea,  with  Laurel  and  Hardy ;  Road  Show. 
with  .Adolph  Menjou  and  Carole  Landis ; 
Topper  Returns,  with  Roland  Young, 
and  Joan  Blondell. 

Post  handles  films  for  sale  only  and 
in  some  instances  under  a  three-year 
lease,  but  its  releases  are  available  for 
rental  at  leading  film  libraries  through- 
out the  country.  Copies  of  the  catalog 
can  be  obtained  on  request  to  Post 
Pictures   Corporation. 

■  Brandon  Films,  Inc.,  1600  Broadway, 
New  York  City,  has  compiled  another 
Wartime  Film  Bulletin,  called  "One 
World,"  which  is  Supplement  No.  2  to 
their  General  Catalog  of  "Movies  to  Help 
Win  the  War."  This  handy-size  booklet 
(3V^  X  8V4)  offers  descriptions  of  selec- 
ted features  for  programs  of  world-wide 
scope — -American,  British,  Italian,  French, 
Polish,  Mexican,  Spanish,  and  German 
features.  Documentaries,  Newsreel  shorts 
on  the  War,  and  film  units  for  United 
Nations  Victory  Programs  complete  the 
contents  of  this  21-page  catalog,  which 
is  available  free  upon  request. 

■  Johnson  &  Johnson,  New  Bruns- 
wick, N.  J.,  in  cooperation  with  the 
United  States  Public  Health  Service,  have 
produced  the  following  16mm  sound 
motion  picture  to  supplement  first  aid 
courses  in  schools : 

Help  Wanted — reviewed  and  passed 
by  the  U  S.Office  of  Civilian  Defense 
and  the  .American  College  of  Surgeons. 
The  all-professional  cast  demonstrates 
the  general  procedure  recommended  for 
caring  for  victims  before  the  arrival  of 
the  doctor.  Included  are  sequences 
showing  the  circulatory  system  of  the 
human  body,  methods  of  stopping 
bleeding  from  cut  arteries  and  veins, 
treatment  of  shock,  proper  method  of 
applying  and  handling  various  types  of 
bandages,  treatment  of  burns,  artificial 
respiration,  treatment  of  fractures  and 
methods  of  transporting  injured  per- 
sons. 

Schools  or  other  groups  interested 
can  secure  prints  on  a  free-loan  basis. 

■  Bureau  of  Mines,  4800  Forbes  St.. 
Pittsburgh,  Pa.,  has  released  the  follow- 
ing 16mm  sound  subjects  for  free  dis- 
tribution : 

Petroleum  and  Its  Uses — 42  minutes 
running  lime — describing  the  important 
role  played  by  petroleum  and  its  prod- 
ucts in  the  daily  life  of  the  average 
American  family.  Of  particular  in- 
terest are  scenes  showing  one  of  the 
steps  in  the  production  of  synthetic 
rubber. 

Stainless  Steel — 29  minutes  running 
time — the  production  story  of  a  cor- 
rosion-resistant metal  that  combats 
rust.  Each  sep  in  the  production 
process  is  depicted. 


November,  1945 


Page  3<3 


MAKE  TOUB  OWH 

TYPEWRITER    SLIDES 

Far  S«rMfi  PraJMtivn 

USE      RADIO       MATS 

on    sal«    by    Theatre    Supply   Dealer* 

Write  for  Free  Sample 

RADIO-MAT  SLIDE  CO..  Inc. 

222  Oakrid«  BlT4..DarteiuB«ack,na. 


Experimental  Research 
in  Audio-Visual  Education 

{Continued  from  page  348) 

ideas  listed  were  scored  as  irrelevant.  The  average  number 
of  separate  ideas,  of  relevant  ideas,  and  of  irrelevant  ideas,  per 
child  was  calculated  for  each  level  of  Group  I,  II,  and  III. 

Pupils  from  ten  rural  schools  in  Jackson  County,  Kentucky, 
were  selected  as  subjects  in  this  study  because  they  were  com- 
parable in  background,  experience,  and  education  to  the  child- 
ren in  the  counties  in  which  the  Sloan  Experiment  in  Ap- 
plied Economics  is  being  carried  on.  Intelligence  tests  and 
achievement  tests  were  administered  to  498  pupils  in  Jack- 
son County.  Pupils  over  thirteen  years  of  age  were  eliminated 
from  the  study  because  it  was  felt  that  the  materials  were  too 
easy  for  them.  Three  groups  of  pupils,  equated  on  the  basis  of 
reading  age,  were  made  up  to  correspond  to  the  levels  of  dif- 
ficulty of  the  reading  materials.  There  were  seventy-eight  sub- 
jects in  each  of  the  three  main  groups.  Small  differences 
occurred  in  the  number  of  children  in  each  of  the  A,  B,  and  C 
reading  levels.  This  fact  made  it  necessary,  in  treating  the 
results,  to  use  the  average  in  making  some  of  the  compari- 
sons. 

The  investigator  had  prepared  suitable  record  sheets  for  each 
child.  All  the  children  in  the  study  were  shown  pictures  and  were 
asked  to  tell  about  them  in  a  "warming  up"  procedure  prior 
to  actual  testing. 

Children  in  Group  I  were  given  a  story  with  pictures.  They 
read  the  story  aloud  and  told  all  that  they  could  remember. 
Children  in  Group  II  reported  on  the  illustrations  alone.  Re- 
sponses of  all  children  were  recorded  verbatim. 

Conclusions 

The  results  of  this  study  indicate  that  children  get  more 
relevant  ideas  from  reading  a  story  with  pictures  than  from 
reading  the  story  alone  or  from  the  pictures  alone.  This  con- 
clusion is  true  regardless  of  the  fact  that  in  presenting  the 
story  and  pictures,  the  investigator  did  not  instruct  the  child- 
ren to  look  at  the  pictures  or  to  report  on  what  they  saw  in  the 
pictures.  The  superiority  of  the  story  with  pictures  over  the 
story  alone  seems  to  increase  with  an  increase  in  the  relevancy 
of  the  pictures.  To  the  extent  that  memory  for  ideas  is  a 
measure  of  comprehension,  to  that  extent  pictures  contribute 
to  the  comprehension  of  reading  material. 

In  two  of  the  three  groups  of  this  study  the  children  got 
more  separate  ideas  from  the  pictures  alone  than  from  read- 
ing a  story  with  pictures,  and  in  each  group  they  got  more 
ideas,  from  the  pictures  alone  than  from  the  reading  matter 
alone.  The  majority  of  the  ideas  reported  from  pictures  alone, 
however,  were  irrelevant  to  the  story  or  to  the  ideas  intended 
in  the  pictures.  The  degree  of  irrelevancy  varied  from  pic- 
ture to  picture,  indicating  that  it  may  be  possible  to  select  pic- 
tures with  a  high  degree  of  relevancy  to  the  story.  From 
the  standpoint  of  stimulating  and  arousing  a  variety  of  ideas, 
pictures  are  superior  to  reading  matter  alone  or  to  reading 
matter  with  pictures ;  but  from  the  standpoint  of  getting  ideas 
which  are  directed  toward  some  specific  goal,  pictures  alone 
are  inferior  to  reading  matter,  with  or  without  pictures.  The 
conclusion  does  not  stop  here,  however.  The  results  of  this 
study  show  that  when  the  stimulating  effect  of  pictures  is 
directed  by  reading  matter,  there  are  more  relevant  ideas. 


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64  E.  Lake  Street,  Chicago,  111. ;  Editor,  Nelson  L.  Greene,  64  E.  Lake 
Street.    Chicago,    111. 

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dorff.  7022  Warwick  Rd..  Indianapolis.  Ind. :  Marie  Craig,  Bangor,  Me.; 
Estate  of  J.  J.  Wefoer,  Bay  City,  Texas. 

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None. 

4.  That  the  two  paragraphs  next  above,  giving  the  names  of  the 
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as  to  the  circumstances  and  conditions  under  which  stockholders  and 
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as  trustees,  hold  stock  and  secnHtles  fn  a  capacity  other  than  that  of  a 
bona  fide  owner ;  and  this  affiant  has  no  reason  to  believe  that  any 
other  person,  association  or  corporation  has  any  Interest,  direct  or  In- 
direct, in  the  said  stock,  bonds,  or  other  securities  than  as  so  stated 
by  him. 

NELSON    L.    GREE:nE.    Publisher. 
Sworn  to  and  subscribed  before  me  this  30th  day  of  September,  1943. 
JOSEPHINE  HOFFMAN, 

Notary  Public. 
(My  commission  expires  June  21.  1945.) 


Page -3 64 


The  Educational  Screen 


TLTlI'TDTr'     TT'TJP  V       fi  Df  a  Trade  Directory 

iTliUXX^J       ±  XX^I   JL        JTlXXiU        '  for  the  Visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425  Williams  St.,  Denver.  Colo. 
Audiofilm  Studio 

1614  Washington  St.. 
Vancouver.  Wash. 

(See  advertisement  on  page  352) 

Bailey  Film  Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave..  Chicago.  111. 

(See  advertisement  on  pasre  361 ) 

Better  Films  (2) 

742A  New  Lots  Ave.,  Brooklyn,  N.Y. 

(See  advertisement  on  page  346) 

Brandon  Films  (3) 

1600  Broadway.  New  York,  N.  Y. 

(See  advertisement  on  page  357) 

Bray  Pictures  Corp.  (3,  6) 

729  Seventh  Ave..  New  York.  N.  Y. 

(See  advertisement  on  pagre  354) 

Castle  Films  (2,  5) 

RCA  Bide..  New  York.  N.  Y. 
(See  advertisement  on  pas:e  321) 

Central  Education  Association  (1) 

123  S.  Washington  St.. 
Green  Bay,  Wis. 
College  Film  Center  (3,  5) 

84  E.  Randolph  St..  Chicago.   III. 
(See  advertisement  on  page  354) 

Creative  Educational  Society  (1) 

4th  Fl..  Coughlan  Bldg. 
Mankato.  Minn. 
DeVry  School  Films  (3) 

1111  Armitage  Ave.,  Chicago,  111. 

(See  advertisement  on  page  322) 

Eastman  Kodak  Co.  (3) 

Teaching  Films  Division 
Rochester,  N.  Y. 

(See  advertisements   on   pages    345.  351) 

Eastman  Kodak  Stores.  Inc.  (3) 

Eastman  Classroom  Films 
356  Madison  Ave.,  New  York,  N.Y. 
Erpi  Classroom  Films,  Inc.  (2,  5) 

1841   Broadway.  New  York.  N.  Y. 

(See  advertisement  on  page  353) 

Films.  Inc.  (3) 

330  W.  42nd  St..  New  York,  N.  Y. 
64  E.  Lake  St..  Chicago 
314  S.  W.  Ninth  Ave..  Portland,  Ore, 
Fryan  Film  Service  (3) 

East  21st  and  Payne  Ave., 
Cleveland,   Ohio 

General  Films,  Ltd.  (3   6) 

1924  Rose  St..  Regina.  Sask. 
156  King  St.  W.  Toronto 
Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  45th  St.,  New  York,  N.  Y. 

(See  advertisement  on  page  352) 

Hoffberg  Productions,  Inc.  (2,  S) 

618-20  Ninth  .^ve..  New  York,  N.  Y, 
Ideal  Pictures  Corp.  (3   6) 

28  E.  Eighth  St..  Chicago,  111. 

(See  advertisement  on  page  328) 

Knowledge  Builders  Classroom  Films 

625  Madison.  New  York,  N.  Y.  (2,  S) 

National  Film  Service  (2) 

14  denwood  Ave.    Raleigh   N.  C. 
309  E.  Main  St.,  Richmond,  Va, 

Post  Pictures  Corp.  (3) 

72i  Seventh  .-^ve,.  New  York.  N.  Y. 

(See  advertisement  on  page  356) 

The  Princeton  Film  Center  (2) 

55    Mountain   .\ve.,   Princeton.   N.  J. 

Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd..  St.  Louis,  Mp. 
(See  advertisement  on  page  352) 


Universal  Pictures  Co.,  Inc.  (2,  5) 

Rockefeller   Center,  New  York  (Zity 
(See  advertisement  on  page  357) 

Visual  Education  Incorporated         (3) 

12th  at  Lamar.  Austin,  Tex, 

Vocational  Guidance  Films,  Inc.       (2) 

2718  Beaver  Ave.,  Des  Moines.  la. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa, 

Y.M.C.A.  Motion  Picture  Bureau    (3) 

347   Madison  .Ave,.  New  York,  N.Y. 
19  S,  LaSalle  St..  Chicago 
351   Turk  St.,  San  Francisco    Cal. 
1700  Patterson  Ave,,  Dallas.  Tex, 


MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (3) 

2839  N,  Western  Ave,.  Chicago.  111. 

(See  advertisement  on  page  359) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  -Ave.,  Chicago.  Ill, 

(see  advertisement  on  page  361) 

Central  Education  Association  (1) 

123  S.  Washington  St.. 
Green    Bay,   Wis, 

DeVry  Corporation  (3,  6) 

1111  Armitage  Ave,,  Chicago,  111. 
(See  advertisement  on  page  322) 

Eastman  Kodak  Stores,  Inc.  (3) 

Kodascope   Libraries 

356  Madison  Ave,.  New  York,  N.  Y. 

General  Films,  Ltd.  (3.  6) 

1924  Rose  St„  Regina,  Sask. 
156  King  St..  W.  Toronto 
Holmes  Projector  Co.  (3,  6) 

1813  Orchard  St..  Chicago,  111. 

(See  advertisement  on  page  356) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  page  328) 

Radio  Corporation  of  America         (2) 

Educational  Dept,,  Camden,  N.  J. 
(See  advertisement  on  page  327) 

S.  O.  S.  Cinema  Supply  Corp.  (3.  6') 

449  W.  42nd  St..  New  York.  N.  Y, 

Victor  Animatograph  Corp.  (3) 
Davenport  Iowa 

(See  advertisement  on  inside  front  cover) 

Visual  Education  Incorporated         (3) 

12th  at  Lamar,  Austin,  Tex, 
Williams  Brown  and  Earle,  Inc.  (3  6) 

918  Chestnut  St„  Philadelphia.  Pa. 

SCREENS 

Da-Lite  Screen  Co.,  Inc. 

2723  N.   Crawford  Ave.. 
Chicago  39,  111. 

(See  advertisement  on  page  347) 

Radiant  Mfg.  Company 

1144  W.  Superior  St., 
Chicago  22.  111. 

(See  advertisemeot  on  page  324) 

National  Film  Service 

14  Glenwood  Ave,,  Raleigh,  N.  C. 
309  E.  Main  St.,  Richmond,  Va. 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St.,  Chicago,  111. 

(See  advertisement  on  outsiae  baclc  cover) 

The  Stanley  Bowmar  Co. 

2929  Broadway.  New  York  25.  N.  Y. 
Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,   Philadelphia,   Pa. 


SLIDEFILMS 

Society  for  Visual  Education,  Inc. 

100  E,  Ohio  St,.  Chicago.  111. 

(See  advertisement  on  outside  baclc  cover 
and   page   353) 

The  Jam  Handy  Organization 

2900  E.  Grand  Blvd,,  Detroit.  Mich. 
(See  adverti-sement  on  page  349) 

The  Stanley  Bowmar  Co. 

2929  Broadway.  New  York  25,  N.  Y. 
Visual  Sciences 

SutTern.  New  York 

(See  advertisement  on  page  356) 

Williams,  Brown  and  Earle   Inc. 

918   Chestnut  St..  Philadelphia,  Pa. 

SLIDES  (KODACHROME  2x2) 

C.  Edward  Graves 

P.  O.  Box  i7,  .-Areata,  Calif. 

Klein  &  Goodman 

18  S.  10th  St..  Philadelphia,  Pa. 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago.  111. 

( See  advertisement  on  outside  back  cover) 

The  Stanley  Bowmar  Co. 

2929  Broadway,  New  York  25,  N.  Y. 

SLIDES  (STANDARD  2Va  x  4) 

Ideal  Pictures  Corp. 

28  E.  Eighth  St..  Chicago,  111. 

(See  advertisement  on  page  328) 

Keystone  View  Co. 

Meadville.  Pa. 

(See  advertisement  on  page  326) 

Radio-Mat  Slide  Co.   Inc. 

222  Oakridge  Blvd. 
Daytona  Beach,  Fla. 

(See  advertisement  on  page  363) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester,  N  .Y. 

(See  advertisement  on   inside  back   cover) 

DeVry  Corporation 

1111  Armitage  Ave..  Chicago,  111. 
(See  advertisement  on  page  322) 

General  Films  Ltd. 

1924  Rose  St.    Regina.  Sask. 
156  King  St„  W.  Toronto 

Golde  Manufacturing  Co. 

1220  W.  Madison  St.,  Chicaeo.  111. 

(See  advertisement  on  page  355) 

Keystone  View  Co. 

Meadville.  Pa. 

(See  advertisement  on  page  326) 

Society  for  Visual  Education.  Inc. 

100  E,  Ohio  St.,  Chicago.  111. 

(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St.,  Buflfalo,  N.  Y. 

(See  advertisement  on  page  325) 

Williams    Brown  and  Earle,  Inc. 

918   Chestnut  St..   Philadelphia.   Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 

16mm 

silent. 

<2) 

indicates 

16mm 

sound. 

(3) 

indicates 
silent. 

16inm 

sound  and 

(4) 

indicated  SSmm 

silent. 

(5) 

Indicates 

35mm 

sound. 

(«) 

Indicates 
silent. 

35mm 

sound  and 

Continuous  Insertions  under  one  heeding,  $2.00  per  issue;  additional  listings  under  other  headings,  $1.00  each. 


EDUCATIORl 


ic  Lib 

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THE   MAGAZINE    DEVOTED   TO   AUDIO-VISUAL  AIDS   IN   EDUCATION 


Q/^fif  A  rnPY     $9  nn  pfp  yfap 


DECEMBER.     1943 


The  history  of  education  has  always  been  the  his- 
tory of  its  tools.  Today  educators  are  discovering 
that  feature  programs,  when  carefully  selected  from 
the  outstanding  productions  of  the  motion  picture 
world,  give  the  students  rich,  human  background 
material  against  which  their  regular  courses  of  study 
take  on  added  meaning.  Films  Incorporated  offers 
all  ty[>es  of  schools  the  world's  largest  and  finest 
16  nun  library  at  low  rentals  based  on  actual  school 
enrollment! 


Thousands  of  schools  from  coast  to  coast  are  show- 
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auditorium,  followed  by  carefully  planned  class- 
room discussion,  as  a  regular  phase  of  the  school 
curriculum.  Here  is  the  report  of  a  New  Orleans 
educator:  "The  Paramount  films  used  last  year 
proved  of  such  inestimable  value  to  the  work  our 
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The  EDUCATIONAL  SCREEN 


THE  EDUCATIONAL  SCREEN 
Staff 

Nelson  L.  Greene,  -  -  -  Editor-in-Chief 
Evelyn  J.  Bakek  -  Advertising  Manager 
Josephine  Hoffman     -    -    Office  Manager 

Department    Editors 

John  E.  Dugan  -  Haddon  Heights,  N.  J. 
Donald  A.  Eldridge  -  Middlctown,  Conn. 
Hardy  R.  Finch     -    -    Greenwich,  Conn. 

Ann  Gale Chicago,   111. 

David  Goodman  -  -  New  York,  N.  Y. 
Josephine  Hoffman  -  -  -  Chicago,  111. 
L.  C.  Larson  -  -  .  Bloomington,  Ind. 
F.  Dean  McClusky  -  Scarborough.  N.  Y. 
Etta  Schneider  Ress    -    New  York,  N.  Y. 

Editorial  AdTiaory  Board 

W.sRD  C.  BoWEN".  Chief,  Bureau  of  Radio 
and  Visual  .Aids,  State  Education  De- 
partment, Albany,  N.  Y. 

Marian  Evans,  Director,  Visual  Instruction 
Center,  Public  Schools,  San  Diego, 
Calif. 

W.  M.  Gregory,  Western  Reserve  Univer- 
sity, Cleveland,  Ohio. 

J.  E.  Hansen,  Chief,  Bureau  of  Visual 
Instruction,  Extension  Division,  Uni- 
versity of  Wisconsin,  Madison,  Wis. 

James  S.  Kinder,  Director  PCW  Film 
Service,  Pennsylvania  College  for 
Women,  Pittsburgh,  Pa. 

Boyd  B.  Rakestraw,  Assistant  Director 
Extension  Division,  University  of  Cal- 
ifornia, Berkeley.  Calif. 

Paul  C.  Reed,  U.  S.  Office  of  Education, 
Washington,   D.   C. 

Maj.  W.  Gayle  Starnes,  Chief,  Training 
Division,  Signal  Corps  Depot,  Lexing- 
ton, Ky. 

Lelia  Trolinger.  Secretary,  Bureau  of 
Visual  Instruction,  Extension  Division, 
University  of  Colorado,  Boulder,  Colo. 

W.  W.  Whittinghill.  Director  of  Trans- 
portation, Board  of  Education,  Detroit, 
Mich. 

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SInql*  Copies 25 


VOLUME  XXII 


DECEMBER,   1943 


NUMBER   TEN 

WHOLE  NUMBER  217 


Contents 

Cover  Picture— A  Ski  Trail  above  Paradise  Inn  in  Mount 

Rainier   National    Park (U.  S.  Department  of  the  Interior  Photo) 

16mm  Advisory  Committee  Confers  with  OWI  OfFicials 

The  Shape  of  Things  fo  Come David  Schneider 

Where  Cameras  Shoot  to  Kill First  Motion  Picture  Unit,  AAF 

Po$t-War  Visual  Education  Potentialities  in 

Latin  America Nathan  D.  Golden 


Motion  Pictures — Not  for  Theatres. 


Arthur  Edwin  Krows 


The  Literature  in  Visual  Instruction 

A  Monthly  Digest Etta  Schneider  Ress,  Editor 

The  Post-War  World— 

In  Hand-Made  Lantern  Slides .Ann  Gale 

The  Film  and  International 

Understanding John  E.  Dugan,  Editor 

School-Made  Motion  Pictures Hardy  R.  Finch,  Editor 

News  and  Notes Josephine  Hoffman,  Editor 

Current  Film  News 

Among  the  Producers 

Here  They  Arel  A  Trade  Directory  for  the  Visual  Field 

Index  to  Volume  XXII 

(Contents  of  previous  issues  listed  in  Education  Index) 


372 

375 
377 

380 
383 

386 

387 

388 
392 
398 
402 
404 
406 
407 


The  EDUCATIONAL  SCREEN  published  monthly  except  July  end  August  by  The 
Educational  Screen,  Inc.     Publication  Office,  Pontiac,  Illinois;  Executive  Office,  64 
East  Lake  St.,  Chicago,  Illinois.     Entered  at  the  Post  Office  at  Pontiac,  Illinois,  as 
Second  Class  Matter. 
Address  communications  to  The  Educational  Screen,  64  East  Lake  St.,  Chicago,  ML 


Page   368 


The  Educational  Screen 


Looking  Forward 


Wartime  achievements  in  science  are 
developing  an  era  of  progress  wliich 
challenges  the  imagination. 

All  that  Spencer  is  doing  now— pro- 
ducing microscopes,  Delineascopes,  per- 
iscopes, telescopes,  aircraft  and  anti- 
aircraft gunsights,  prism  binoculars, 
azimuth  instruments  for  directing  artil- 
lery fire,  tank  sights,  telescopic  alidades 
for  navigation,  projectors  for  instruc- 
tion—  will  reap  peacetime  rewards  in 
advanced  knowledge,  better  manufac- 
turing techniques,  finer  instruments. 


At  the  war's  end,  Spencer  will  be 
ready  to  serve  scientific  and  educational 
needs  on  a  far  broader  scale  than  ever 
before. 


Spencer 

1  BUFFALO. 


LENS  COMPANY 
BUFFALO,  NEW  YORK 

SCIENTIFIC  INSTRUMENT  DIVISION  OF 

AMERICAN   OPTICAL  COMPANY 


December,   194} 


Page  371 


The  most  conveniently  adjustable 
Projection  Screen  ever  made! 


The  Army  Uses  Training  Filmg^'  | 

A  Valu€ible  Manual  for  | 

all  Teachers  I 

The  U.  S.  Army  has  permilled  Radiant  to  | 

publish   a   new    manual   on    training   with  i 

films.     The    material    is   based    on   actual  | 

training  experience — and  is  humorously  il-  | 

lustrated.   Sent  FREE  to  all  Educators  who  | 

request  it  on  school  letterheads.  | 

llftrilllllllllllllMlllltllimilfllllllltlMIIIIIIHIIIMIIIIIIirMIIDIIIIIIIIIItllinitllllKMIIIIIIMIIIIIIr 


RADIANT 


BETTER  SCREENS  FOR  BETTER  PROJECTION. 


Only  Radiant  Can  Offer  You 
All  These  Important  Features: 

For  quick,  convenient  setting  up  and  easy 
adjustment  to  exact  size  and  position — 
Radiant  Screens  offer  an  exclusive  combi- 
nation of  these  features: 

AUTOMATIC  CLUTCH— A  sure  acting 
arranKGment  that  pormits  instantaneous 
raisinK  and  lowering  without  the  ne- 
cessity of  manipulating  screws  and 
bolts.  So  simple  and  easy  to  operate  a 
child  can  use  it. 

TRIPOD  RELEASE— for  opening  or 
closing  tripod  legs  quickly.  Legs  lock 
into  position  without  set  screws  or 
plungers.  Light  pressure  on  convenient 
lever  closes  legs   instantaneously. 

Auto-LOCK — For  raising  or  lowering 
center  extension  rod  instantly.  No  set 
screws,  spring  plungers  or  other  hand 
operated  devices. 

CONVERTIBLE  FROM  SQUARE  TO  OBLONG  — 

Radiant  square-sized  screens  are  convertible  to  oblong 
by  merely  raising  screen  to  plainly  marked  position. 


PLUS  Other  Radiant  Features: 

Radiant  Screens  can  be  instantly  raised  or  lowered 
to  any  desired  position  (not  just  2  or  3  intermediate 
positions)  without  adjusting  set  screws  or  plungers. 
Radiant  Screens  have  the  famous  "Hy-Flect"  Glass 
Beaded  Surface  and  extra  strong  square  tubing.  All 
metal  parts  are  fully  protected  against  corrosion. 

Can  You  Get  Radiant  Screens  Note? 


The  answer  is  "yes".  The  com- 
plete Radiant  line  of  metal  screens 
is  available  in  limited  quantities  to 
essential  users  who  obtain  WPB 
approval  of  their  applications. 
Others  may  obtain  their  choice  of 
the  full  line  of  Radiant  Non-Metal 
Screens.  For  complete  details  write 
today  for  new  Radiant  Catalog — 
just  off  the  press! 


7' 


The  Radiant  Mfg.  Corp.  ' 

1188  W.  Superior  St..  Chicago  22,  111. 

Gentlemen :    Please    send    me    FREE   copy    of    the    new 
complete,  illustrated  Radiant  Screen  CatalosT- 


Name  . 


Address  . 
City 


.State.. 


Page   372 


The  Educational  Screen 


16mm   Advisory  Committee   Confers  With  OWI  Officials 


REPRESEXTATIVES  of  the  eight  national  organi- 
zations comprising  the  newly  created  National  16mni 
Motion  Picture  Advisory  and  Policy  Committee  of  the 
Office  of  ^^'ar  Information  held  its  first  meeting  in 
Washington  on  Xovember  16,  1943.  The  Committee  met 
with  Stanton  Griffis.  Chief.  Bureau  of  Motion  Pictures 
of  the  Office  of  War  Information,  and  C.  R.  Reagan. 
Head,  Non-Theatrical  Division,  and  with  members  of 
the  Bureau  Staff  as  well  as  representatives  of  other 
Federal  Agencies. 

Declaring  its  function  to  be  to  express  broad  and 
general  j)olicies  believed  to  be  in  the  interest  of  the 
inost  effective  production  and  utilization  of  16inm  films 
in  disseminating  war  information  the  committee  reached 
the  following  conclusions : 

1.  While  tlic  limited  number  of  16mm  war  information  films 
available  from  war  agencies  have  contributed  to  a  better  under- 
standing of  war  problems  and  issues,  the  schools,  churches, 
lodges,  men's  and  women's  clubs,  labor  and  industrial  organi- 
zations, and  other  educational,  civic  and  cultural  groups  owning 
over  25,000  sound  projectors  demand  more  factual  films  which 
treat  in  a  more  realistic  fashion  combat  reports,  war  bonds  and 
inflation,  manpower  and  increased  production,  health,  conserva- 
tion and  salvage,  food  and  nutrition,  juvenile  delinquency,  and 
other  vital  war  i)rob!ems. 

2.  To  achieve  maximum  eflfective  distribution  and  utilization 
on  a  nation-wide  basis,  and  avoid  confusion,  contradiction  and 
duplication,  all  ofticial  government  war  films  for  the  civilian 
home  front  should  be  channeled  through  the  Office  of  War 
Information  to  all  existing  I6mm  distributors  on  the  same 
non-exclusive  basis  as  used  in  the  distribution  and  dissemination 
of  official  war  information  through  J5mm  films,  press,  and 
radio. 

3.  An  intensified  use  of  non-theatrical  motion  pictures  and 
complete  mobilization  of  all  16mm  sound  projectors  in  the 
nation  for  the  war  information  program  were  recommended. 
Since  records  for  the  past  sixteen  months  prove  conclusively 
that  those  states  which  have  set  up  statewide  organizations  in- 
cluding state  and  local  war  film  coordinators  have  achieved  best 
results,  this  Committee  recommends  that  this  procedure  be  ex- 
tended to  other  states.  The  Office  of  War  Information,  the 
eight  national  associations  represented  here,  and  all  distributors 
of  war  films  should  make  every  possible  effort  to  inform  the 
American  public  more  fully  of  the  availability  of  non-theatrical 
war  films  through  the  press,  radio  bouse  organs,  and  posters. 

4.  Public  Libraries  and  other  civic  groups  should  encourage 
war  film  forums.  Suggested  plans  and  procedures  on  film 
forums  should  be  widely  distributed. 

5.  Since  the  U.  S.  Government  is  about  to  launch  the  Fourth 
War  Loan  Drive,  it  was  resolved  unanimously  that  the  agencies 
represented  contact  directly  and  through  their  membership  all 
distributors  of  16mm  films  throughout  the  country,  and  urge 
each  of  them  to  cooperate  to  the  fullest  possible  extent  with 
local  War  Bond  Committees  in  supplying  them  with  films,  pro- 
jectors and  projectionists  to  increase  payroll  deductions  and  to 
sell  more  and  more  bonds.  It  is  further  resolved  that  a  copy 
of  this  resolution  be  sent  to  Ted  R.  Gamble,  National  Director, 
War  Finance  Division,  U.  S.  Treasury,  and  that  sufficient 
copies  of  this  resolution  be  supplied  to  the  War  Finance  Com- 
mittees of  the   country. 

6.  The  Committee  further  recommends  that  OWI  provide 
distributors  with  appropriate  trailers  or  news  bulletin  on  urgent 
war  issues  to  be  attached  to  programs  designed  for  general 
audiences. 

7.  It  further  recommends  that  the  necessary  number  of  prints 
of  selected  government  war  films  remain  with  distributors  for 
historical  reference,  and  that  lavender  duplicating  prints  be 
made  and   stored   in  vaults  for  the  purpose  of  making  nega- 


tives and  prints  therefrom  at  any  time  in  the  years  to  come. 
8.  To  provide  for  the  most  effective  use  of  war  films  and  to 
minimize  any  curtailment  of  distribution  and  utilization,  this 
Committee  recommends  that  the  existing  service  charge  be 
reexamined  by  the  Office  of  War  Information.  Recommendations 
resulting  from  this  survey  are  not  to  become  effective  before 
July  1,  1944. 

The  members  of  the  Committes  attending  and  the 
organizations  which  they  represent  are  as  follows: 
L.C.Larson.  Chairman.  Educational  Film  Library  Asso- 
ciation, Indiana  University,  Bloomington ;  W.  K.  Hed- 
wig.  Allied  Non-Theatrical  Film  Association,  New 
York  City :  Miss  Mary  U.  Rothrock,  Audio-Visual 
Aids  Committee,  American  Library  Association,  Knox- 
ville,  Tennessee ;  J.  M.  Stackhouse,  National  Associa- 
tion of  \isual  Education  Dealers.  Richmond.  \'irginia; 
Bertram  Willoiighby.  National  War  Committee  for  ' 
V'isual  Education  Industry,  Chicago,  Illinois ;  George 
H.  Zehmer,  National  University  Extension  Association. 
L'niversity  of  Virginia.  Charlottesville. 

Mrs.  Camilla  Best,  Department  of  Visual  Instruction, 
National  Education  Association.  New  Orleans,  and 
O.  H.  Coelln,  Jr.,  Secretary,  Visual  Equipment  Manu- 
facturers Association.  Chicago,  were  unable  to  attend. 
Mrs.  Best  was  represented  by  Miss  Helen  Hardt 
Seaton.  American  Council  on  Education,  Washington, 
D.  C.  Miss  Mildred  Batchelder,  .\merican  Library  As- 
sociation. Chicago,  also  attended. 

A  special  luncheon  prograin  in  honor  of  this  Com- 
mittee was  arranged  by  the  Washington  W^ar  Visual 
Workers  at  their  regular  weekly  luncheon  on  Novem- 
ber 16th.  Representatives  of  the  various  branches  of 
the  Federal  Government  and  the  United  Nations  par- 
ticipated. 

Present  Status  16mm  War  Film  Service 

Who  Distribute  OWI  Ibiiini  Filiiis 

Educational   Libraries    109 

(Includes  public  schools,  public  libraries,  and  uni- 
versity extension  film  libraries) 

Commercial   Libraries    118 

Miscellaneous    9 

Total  236 

What  They  Arc  Doing 

Monthly    booking    records    and    audience    attendance 
cards  show  an  average  monthly  audience  of  over 
7,000.000  persons. 
Total   Number  of  Subjects  Released 

Prior  to  July,  1943 57 

Total  Number  of  Subjects  Released 
Since  July,   1943   12 

Total  69 

Less :     Subjects    Withdrawn 8 

NET  NUMBER  OF  SUBJECTS  IN  USE  61 
Total  Number  of  Prints  Released 

Since  July  1,  1943 4,300 

Total  Number  of  Prints  Released 

Prior  to  July  1,  1943 25,000 

Total   29,300 

Less :  Prints  Withdrawn   2,394 

GRAND  TOTAL   26,906 


December,   1 94} 


Page  375 


Shape  of  Things  to  Come 


DAVID    SCHNEIDER 

Evander  Childs  High  School,  New  York 

A  stimulating  account  of  this  school's  vital 
classroom  film  production  activity,  ever  on 
the  alert  and  responsive  to  teaching  needs. 

F(^UR  years  ago,  when  I  was  asked  to  take  over 
the  sponsorship  of  the  Evander  Childs  Motion 
Picture  Club,  a  re([uest  came  from  the  principal 
of  the  school  to  briefly  outline  the  purposes  and  plans 
of  this  chib.  Without  any  definitely  prepared  scenario 
in  mind  or  on  paper  1  hastily  jotted  down  our  intentions 
of  jjroducing  a  film  on  tolerance  and  democracy,  and 
one  or  two  films  on  the  work  of  the  Biology  Research 
Clulj — an  activity  which  was  closely  connected  with  the 
school's  honor  class  in  biology. 

One  of  these  films,  Evandcr's  Chicks,  described  in 
detail  in  the  June  issue  of  the  Educational  Screen. 
has  now  become  an  adjunct  of  the  biology  departments 
of  the  New  York  City  high  schools.  Ten  copies  were 
ordered  by  the  Film  Steering  Committee  of  the  High 
School  Divi.sion  and  distributed  to  as  many  of  our  film 
centers  for  circulation  among  the  other  schools. 

The  film  on  tolerance  and  democracy.  They  All  Go 
to  Evander,  described  in  the  May  1941  issue  of 
Education,  and  its  scenario  outlined  in  High 
Points,  April  1941.  has  become  not  only  a  local  suc- 
cess, but  made  some  international  history  too.  l-ast 
year  officials  of  the  Interctiltural  Relations  Bureau  of 
our  State  Department  in  Washington  saw  the  film  and 
immediately  ordered  a  copy  for  circulation  in  Latin- 
America,  where  it  is  known  as  La  Segtinda  Ensenanaa 
en  los  Estados  Unidos.  The  film  and  scenario  were  also 
brought  to  the  attention  of  the  Motion  Picture  Division 
of  the  Office  of  the  Coordinator  of  Inter-American 
Affairs.  Not  much  time  was  lost  in  planning  a  pro- 
fessional made  shorter  version  of  this  scenario.  Soon 
thereafter,  with  the  co-operation  of  teachers  and  stu- 
dents of  Evander  and  a  bit  of  guidance  from  nie,  the 
photographers  found  their  work  outlined  and  sets 
ready  for  their  cameras  every  day  that  shooting  had  to 
take  place.  A  Portuguese  sound  version  is  now  mak- 
ing the  rounds  of  Brazil,  and  the  films  with  the  Spanish 
sound  tracks  are  about  ready  for  their  journey  into  the 
other  Pan-American  Republics.  It  might  be  added 
that  requests  for  our  original,  silent,  school-made  film 
still  keep  coming  in  from  different  parts  of  the  coun- 
try. 


Frames  from 
the  K  o  da- 
chrome  nature 
film,  titled  "All 
on  a  Summer's 
Day,"  made  at 
Evander  Childs 
High    School. 


■  „ 

—^B 

A 

*. 

^^Jj 

^^^^^HBTi 

_  ^^^vv^' 

■1^ 

r 

.  ^iz^-sm 

All  that  being  but  so  much  water  under  the  bridge, 
I  would  like  to  venture  further  into  the  future  possi- 
bilities of  school-made  films.  I  hope  I  may  earn  the 
leader's  indulgence  if  I  refer  to  film  activities  in  the 
school  I  know  best — my  own  school. 

I  have  always  felt  that  with  the  overburdened  teach- 
ing material  in  English  classes  most  teachers  find  little 
time  to  u.se  and  less  time  to  create  visual  aids  to  enrich 
tiieir  les.sons.  I  remember  distinctly  in  my  freshman 
high  school  English  the  difficulty  many  of  us  had  in 
committing  to  memory  those  beautiful  lines  from  the 
"Vision  of  Sir  Launfal''  beginning  with  "What  is  so 
rare  as  a  day  in  June?".  How  much  more  enjoyable 
would  we,  tenement  dwellers,  have  foimd  "then  heaven 


Page   376 


The  Educational  Screen 


tries  the  earth  to  see  if  it  be  in  tune"  had  we  been 
treated  to  some  pictorial  re])resentation  of  those  hnes? 
How  much  more  appealing  than  the  mere  memorization 

of  the  phrase  from  Browning's  "Pippa  Passes" "the 

hillside's  dew  pearled"  would  the  addition  of  a  Koda- 
slide  have  been?  I  would  like  to  see  several  of  our 
masterpieces  of  poetry  put  to  pictures.  That  is  the  job 
for  the  teacher  and  his  inspired  students  rather  than 
for  the  commercial  producer.  For  tlie  class  in  creative 
writing  there  may  be  as  many  di liferent  scenes  or  .shots 
for  "heaven  tries  the  earth"  as  there  are  students  in 
the  class. 

To  put  pictures  to  poems  I  have  tried  editing  a  film 
I  made  in  Kodachrome.  All  On  a  Sidmiicr's  Day,  by 
inserting  as  subtitles  parts  of  poetry  relating  to  birds, 
insects,  rain,  clouds,  simset,  and  other  phenomena  en- 
countered on  a  typical  summer's  day.  This  film  was 
tried  out  both  in  science  and  in  English  classes.  Dis- 
cussions as  to  whether  the  poet  used  scientific  method 
in  describing  his  observations  ensued.  Some  students 
wanted  to  know  where  they  could  find  the  rest  of  the 
lines  of  a  ((uoted  poem.  In  one  class  a  student  has 
already  composed  a  narrative  poem  from  which  a  group 
has  volunteered  to  work  out  the  scenario.  After  having 
seen  this  film.  Dr.  Wheat,  chairman  of  tlie  city's  Film 
Steering  Committee,  wrote;  "I  think  you  have  made  a' 
superb  film.  I  have  written  to  Eastman  and  suggested 
that  they  purchase  the  continuity  and  publi,sh  it." 

Even  the  sciences,  which  are  miles  ahead  of  other 
departments  in  their  inventories  and  use  of  visual  aids. 


can  i)e  further  enriched  by  school  and  teacher-made 
films.  I  have  been  teaching  biology  for  about  fifteen 
years.  Term  after  term  I  find  students  confronted 
with  the  .same  difficulties  in  trying  to  understand  such 
processes  as  cell  division,  maturation,  etc.  It's  true 
that  we  have  a  wealth  of  material  in  the  form  of  lantern 
slides,  microscope  slides,  plaques,  charts,  models,  and 
even  soajj  and  wood  carvings.  All  this  material,  in 
spite  of  its  artistic  appeal,  nevertheless  remains  static. 
Biological  processes  are  continuous,  from  inception  to 
completion  ;  nothing  staccato  about  them.  Most  stu- 
dents fail  to  grasp  the  continuity  of  these  processes 
Iiecause  they  seem  to  carry  away  with  them  the  .seven 
pictures  of  cell  division  as  seen  in  their  text  books,  or 
the  six  ste])s  as  ])ortrayed  in  the  plaster  of  Paris  models. 
They  do  not  realize  that  there  are  many  more  stages 
between  any  tw(j  of  the  drawings  or  models.  This  is 
where  the  motion  picture  film  .should  ccjme  in,  not  as  a 
substitute  for,  but  rather  as  a  supplement  to  the  other 
visual  aids.  To  try  to  help  my  students  to  understand 
the.se  processes  more  thoroughly,  1  .spent  several  eve- 
nings pushing  pieces  of  modeling  clay  into  and  out  of 
certain  positions  on  a  board,  and  by  the  use  of  the 
device  of  single  frame  photography  the  finished  film 
simulated  the  processes  mentioned  above.  Crude  as 
the  results  may  be,  the  time  taken  to  cover  these  topics 
in  class  has  been  cut  exactly  in  half  with  the  use  of 
that  piece  of  film.  In  spite  of  my  protestations  that 
it  is  not  a  finished  product,  teachers  a.sk  for  this  film 
whenever  they  approach  this  topic. 

Processes,  functions,  and  theories  are  among  the 
most  difficult  concepts  for  beginners  in  science  to 
master.  It  is  exactly  in  these  fields  that  the  imagination, 
ingenuity  and  skills  of  the  teacher  can  best  express 
themselves  through  the  medium  of  the  motion  picture. 
The  number  of  frustrations  encountered  by  the  student 
during  such  lessons  would  be  reduced  to  a  minimum. 
Many  a  time  the  question,  "what  shall  we  show  in  a 
movie  to  clarify  this  process  ?"',  has  aroused  the  interest 
of  an  otherwise  lethargic  audience.  A  class  of  slow 
learners  faced  with  the  difficulty  of  mastering  the 
geological  explanation  of  evolution  spent  the  greater 
part  of  two  class  periods  cutting  and  modeling  various 

{Concluded  on'  pafje  390) 


THE        ^«v 

nCIIOli  FICTURP 

CLUB  ' 

PFt5[llT5 


Scenes  from  "Evander's  Chicks." 


Making  film  Title  by  chalk  on  blackboard. 


December,   194} 


Page  377 


Where  Cameras  Shoot  to  Kill 


This  article,  furnished  by  the  First  Motion 
Picture  Unit  of  the  Army  Air  Forces,  presents 
conclusive  evidence  of  the  Unit's  important 
contribution    to    the    winning    of    the    war. 


Above:   Members  of  the   First  Motion  Picture 

Unit,  Army  Air  Forces,  at  Retreat. 
Right:  AAF  production  unit  at   Miami  Beach, 
making   a    scene    for    the    film    "Wings    Up." 


THERE'S  a  weapon  of  war  that's  rarely  discussed 
when  armchair  strategists  get  together  to  talk  over 
remote-controlled  bombs,  death-ray  machines  and 
other  Superman  novelties.  Yet  it  is  a  potent  force  in 
the  struggle  the  ."Mlies  are  waging  against  the  Axis. 

It  doesn't  look  like  much.  It  is  merely  a  black  steel 
iiox,  filled  with  whirring  mechanism  and  grotesque 
lenses,  in  all  weighing  235  pounds,  costing  $10,000. 
Yet,  it  can  see  better  than  the  human  eye.  hear  better 
than  the  human  ear.  It  can  expose  the  armies,  ma- 
chines, tactics  of  the  enemy.  It  can  learn  facts  which 
will  defeat  the  .Axis ;  it  can  teach  facts  which  will 
strengthen  the  United  Nations.  It  is.  of  course,  the 
modern  motion  picture  camera. 

One  of  the  places  it  is  being  put  to  successful  use  is 
at  a  California  military  post  which  covers  nine  acres  of 
the  old  Hal  Roach  Studios  in  Culver  City,  California. 
Here  specialists  of  the  First  Motioti  Picture  Unit  of 
the  Army  Air  Forces  exploit  the  camera  as  a  war 
weapon.  Here,  with  a  minimum  of  publicity,  a  maxi- 
mum of  perspiration,  they  scientifically  put  the  camera 
into  the  fight. 

The  First  Motion  Picture  Unit  is  concentrating 
largely  on  supplying  the  fast-mushrooming  .\rmy  Air 
Forces  with  visual  education.  The  enlisted  men  of  the 
Unit  are  dedicated,  twelve  hours  a  day,  more  if  neces- 
sdry,  to  pro<lucing  two  types  of  movies — Training  Films 
to  save  the  lives  of  .American  flyers  and  crews,  and 
Combat  Films  that  cover  the  actual  fighting  fronts. 
Today,  the  First  Motion  Picture  Unit  stands  as  a 
symbol  of  army  far-sightedness. 

Only  twenty-five  years  ago,  during  World  War  I. 


the  camera  was  regarded  as  a  toy,  a  magic  lantern  and 
given  about  as  much  serious  consideration  by  the  mili- 
tary as  the  yo-yo  or  Chinese  checkers.  Of  course,  the 
stuttering  crank  cameras  of  that  period,  along  with 
other  technical  imperfections,  resulted  in  yellow,  jerky, 
spotted,  blurred  film.  But  the  main  drawback  was  the 
attitude  toward  the  camera.  Heads  of  the  services 
refused  to  become  excited  over  camera  units  at  the 
front.  Nevertheless,  the  Allies  were  able  to  get  some 
confused  celluloid  reportage — shots  of  the  burniiig  of 
Louvain,  the  retreat  of  the  Belgian  army,  aviator 
Guynemer  in  action.  In  the  United  States,  George 
Creel  created  a  Division  of  Film  which  turned  out  such 
unsubtle  items  as  "Pershing's  Crusaders"  and  "The 
Slacker."  In  1918,  after  persistent  effort,  the  Signal 
Corps  was  able  to  release  a  few  training  films,  plus 
combat  scenes  in  one  reel  shorts  distributed  b}-  the 
Red  Cross. 

.After  those  amateurish,  cinematic  fumblings,  and 
during  the  bridge  between  World  War  I  and  W'orld 
War  II,  the  military  Merlins  in  Washington  decided  to 
go  into  the  subject  of  visual  education.  They  learned 
much.  They  learned  that  the  camera  teaches  soldiers 
60%  faster,  that  it  teaches  them  more  graphically. 
They  learned,  too.  that  actual  battle  scenes  on  celluloid 
reveal  more  about  enemy  secrets  and  weaknesses  than  a 
thou.sand  Mata  Haris.  So,  with  the  advent  of  World 
War  II.  the  .American  military  leaders  added  the  camera 
to  their  latest  streamlined  armament. 

General  H.  H.  .Arnold,  head  of  the  AAF,  and  a  tradi- 
tion-shaker with  progressive  ideas,  decided  that,  since 
the   Signal   Corps   was  already  overburdened  with  a 


Page   378 


The  Educational  Screen 


»i.f'*-' 


;-  iiaiiiiiiii'yi'»''^-ii  iiii"    ■. 


■vtli 


Top:  A  combat  photographic  group  training  for 
filming  actual  battle  scenes. 

Center:  Two  members  of  a  camera  combat  unit  go 
aloft    for    their    first    aerial    photographic    flight. 

Bottom:  A  combat  cameraman,  flanked  by  a  protect- 
ing guard,  takes  advantage  of  a  natural  obstacle 
to  photograph  battle  scenes,  enacted  by  members 
of   the    First    Motion    Picture    Unit    in    Culver    City. 


top-heavy  military  movie  schedule,  the  production  of 
films  dealing  directly  with  the  Army  Air  Forces  would 
be  turned  over  exclusively  to  a  newly  created  Air 
Force  organization.  Thus,  on  August  1.  1942,  the 
Army  Air  Forces,  First  Motion  Picture  Unit,  was 
activated. 

In  the  beginning,  there  were  only  two  officers  in 
the  Unit — Captain  Owen  Crump  and  Major  William 
Keighley  now  both  Lieutenant-Colonels.  Private  Oren 
Haglund.  the  only  enlisted  man,  had  been  an  ex-director 
at  Warners  and  was  finally  commissioned  a  First 
Lieutenant. 

From  the  beginning  every  eiifort  was  made  to  ferret 
out  top-notch  motion  picture  technicians  who  would 
also  be  top-notch  soldiers.  First  move  was  to  enlist 
Lieutenant-Colonel  A.  Paul  Mantz  as  Commanding 
Officer.  Mantz,  with  8,000  hours  in  the  air  over  two 
decades,  had  been  technical  advi.ser  to  Amelia  Earhart, 
had  held  the  world's  outside  loop  record,  had  been  the 
most  sought-after  aerial  cinematographer  in  Holly- 
wood. He  was  the  ideal  combination  of  Army  and 
Hollywood. 

With  this  as  a  beginning  notices  were  sent  to  all 
large  Air  Bases  in  the  United  States  requesting  any 
soldiers  with  experience  in  motion  picture  production. 
Soon  they  began  arriving — sound  men,  drill  sergeants, 
mechanics,  airplane  experts,  combat  photographers,  cut- 
ters, cameramen,  writers.  Today,  these  men  are  as- 
signed to  turning  out  training  films  for  the  personnel 
of  the  Ami)'  Air  Forces.  At  the  First  Motion  Picture 
Unit  training  films  are  produced  on  low  budgets,  at 
great  speed. 

The  men  in  Culver  City  attempt  to  make  training 
films  more  efl^ective  by  injecting  brief  shots  of  humor, 
drama,  suspense.  Thus,  modern  training  films  manage 
to  keep  their  audiences  alert  and  manage  to  impress  in- 
struction through  dramatization.  A  notable  example 
is  Wings  Up,  a  film  so  compelling  that  it  was  released 
to  the  general  public.  It  deals  with  the  Army  Air 
Forces  Officers  Candidate  School.  The  First  Motion 
Picture  Unit  had  Lieutenant  Norman  Krasna  write  the 
script,  borrowed  Captain  Clark  Gable  to  read  the  nar- 
ration, sent  camera  crews  to  Miami,  Florida,  to  shoot 
the  action.  Mood  of  this  short  is  established  in  the 
opening  scenes  when  Captain  Gable  discusses  the  diffi- 
culty of  weeding  out  the  right  men  in  the  army  to  be- 
come the  army's  leaders :  "There's  an  X-ray  machine 
that  looks  into  men's  minds,  and  hearts,  and  souls,  and 
finds  them  either  adequate — or  wanting.  It's  called  the 
Officers  Candidate  School  of  the  Army  Air  Forces  . .  ." 

Typical  of  the  many  films  dealing  technically  with 
airplanes  is  the  First  Motion  Picture  Unit's  production 
of  Hoxv  To  Fly  The  5-26  Airplane.  A  large  motion 
jjicture  crew,  supervised  by  the  writer-director  of  the 
short.  Captain  Robert  Carson,  went  to  Barksdale  Field. 
Louisiana  to  make  this  training  subject.  Instead  of  a 
dull  Sunday  School  lesson,  the  film  comes  to  life  with 
drama  and  real  characters. 

Month  after  month  now,  as  the  demand  grows,  the 
First  Motion  Picture  Unit  is  grinding  out  these  train- 
ing subjects.  One  of  them.  Recognition  of  the  Japanese 
Zero,  is  an  exciting,  hair-lifting  combat  drama.  But  it 
also  drives  home,  with  a  force  that  no  pilot  will  ever 
forget,  recognition  of  the  deadly  Japanese  Zero  fighter. 


December,   1945 


Page   379 


Successful  production  of  these  pictures  requires  per- 
fect coordination  by  innumerable  special  departments. 
Some  of  these  are — Directors,  Writers,  Art,  Clerical, 
Research,  Cutting,  Camera,  Music,  Property,  Blue- 
prints, Electrical,  Sound,  Construction. 

Two  of  the  Unit's  scenario  writers  went  on  a  1,500 
mile  anti-submarine  bomber  patrol.  Another  writer 
flew  from  the  Unit  to  Dutch  Harbor,  Alaska,  making 
notes  while  crouched  in  the  nose  of  his  plane,  notes  to 
be  incorporated  in  a  picture  which  will  give  ferry  pilots 
a  preview  of  the  safest,  fastest  route  to  Alaska.  In 
every  case  the  Technical  research  on  every  project  is 
carefully  followed  through,  then  when  the  film  is  in 
actual  production  expert  tecTinical  advisers  supervise 
every  shot. 

Another  important  and  little  known  aspect  of  films 
is  the  Animation  Department.  Under  the  leadership  of 
Major  Rudolf  Ising,  recently  head  of  M.G.M.'s  Ani- 
mation dei)artment,  a  cor])s  of  expert  artists  take  tech- 
nical problems  and  transform  them  into  lively  and  easily 
understood  visual  education. 

Most  of  the  actual  acting  in  these  training  films  is 
done  by  the  enlisted  men.  Of  course,  there  is  a  hand- 
ful of  professionals  like  Lieutenant  Ronald  Reagan, 
Pfc.  Alan  Ladd,  Pvt.  George  Montgomery,  Pvt.  John 
Beal,  who.  besides  their  regular  fatigue  and  drill  duties, 
also  provide  the  necessary  acting.  But  the  bulk  of  the 
dramatics  is  done  by  amateurs,  most  of  whom  never 
appeared  in  anything  more  professional  than  a  Ladies 
Aid  Societ,\-  Pageant.  Daily,  lowly  privates  are  sum- 
moned to  wardrobe  to  don  the  golden  oaks  of  Majors, 
then,  after  ])erforming  their  stints,  return  to  wrestling 
with  pots  and  pans  in  the  company  kitchen. 

In  fact,  the  First  Motion  Picture  Unit  is  very  firm 
about  its  personnel  being  Gl's-of-all-trades.  A  short 
time  ago.  a  top  scenario  writer  at  M-G-M  left  the  higher 
income  brackets  to  enter  the  Unit  as  a  private.  He 
spent  his  first  week  doing  garbage  detail  and  labor. 
During  his  .second  week,  the  writer  was  employed  as 
an  extra  player  in  a  scene  before  the  cainera.  As  he 
left  the  set,  after  the  day's  shooting,  a  friend  approached 
him,  asked  him  how  he  liked  the  setup.  "Oh  fine,  fine", 
said  the  writer.  "I've  got  a  three  way  contract  here — 
writing,  acting  and  KP" !  But,  just  as  the  Unit  expects 
its  men  to  be  expert  film  makers,  it  expects  them,  at 
the  same  time,  to  he  good  soldiers.  Daily,  there  are 
close  order  drills,  exercises  with  gasmasks  and  side- 
arms. 

Twenty-seven  members  of  the  Unit  are  in  charge  of 
the  Flight  Echelon.  .\  unique  feature  of  the  First  Mo- 
tion Picture  Unit  is  the  fact  that  it  possesses  its  own 
airplane  hangar,  and  five  airplanes  assigned  to  it  by 
the  AAF.  These  planes  are  .serviced  by  three  officers, 
three  clerks,  twenty-one  mechanics.  They  are  used 
for  aerial  cinematography.  Of  the  enlisted  men  in  the 
Unit,  one  third  are  training  for  actual  overseas  com- 
bat. These  men,  from  every  corner  of  the  nation,  are 
rigorously  schooled  in  use  of  fire-arms,  in  performance 
of  Commando  tactics — and  lastly,  in  u.se  of  a  special 
digest  version  of  the  Mitchell  35mm  camera. 

Combat  movies  were  being  taken  as  far  back  as  1916, 
when  Fox  films  sent  a  newsreel  cameraman  down  to 
Mexico   to    shoot   scenes   of    Pancho    Villa    in    battle. 


Top:  Photographing  animated  sequences  which  are 
used   extensively    in   the    Air    Forces'    training    films. 

Center:  The  Spec'al  Effects  Department  prepare  to 
make   a    photographic   wipe    on   a    miniature    screen. 

Bottom:  In  the  cutting  room  the  sound  track  and 
picture  are  matched  before  the  final  print  is  made 
on    one    of    the    training    films    made    by    the    Unit. 


Page   380 


The  Educational  Screen 


Villa  refused  to  j^ermit  action  shots  of  himself,  finally 
sold  the  motion  picture  right  on  his  jDrivate  war  to  Fox 
for  $25,000 — and  staged  three  raids  just  to  give  the 
cameraman  good  battle  stuff ! 

Well,  toda}',  there  is  much  more  to  shoot  than  there 
was  in  V  ilia's  time,  and,  incidentally,  there  are  no  comic 
opera  overtones.  When  Russia  sent  180  men  out  to 
shoot  One  Day  On  The  Russian  Front — 60  were  killed. 
When  England  sent  24  men  out  to  shoot  Desert  Vic- 
tory— 18  were  killed,  wounded  or  captured.  The  first 
losses  of  this  Unit  have  already  been  reported. 

The  Coml)at  Camera  Commandos  of  the  First  Motion 
Picture  Unit  show  that  their  work  is  important  to  the 
progress  of  the  war  effort.  They  know  that  their  film, 
sent  to  Washington  from  ever\'  theatre  of  war.  may 
save  lives  by  exposing  any  weaknesses  of  American 
planes  and  armament,  and  will  result  in  gains  against 
the  Axis  by  catching  on  celluloid  (jerman  and  Japanese 
flaws  in  machinery,  tactics,  operation.  Moreover,  these 
men  of  the  combat  crews  know  that,  when  their  pic- 
tures have  served  strategical  purposes,  they  remain  in- 
valuable as  documents  to  tell  those  on  the  home  front 
why  they  must  work  harder  and  harder. 

The  enlisted  men  of  the  combat  crews  come  from 
every  corner  of  the  nation — high-salaried  cameramen 
from  Hollywood,  who  once  photographed  Greta  Garbo 
and  Lana  Turner ;  young  men  from  Kansas  City  and 
Pittsburgh,  who  once  took  16nim  home  movies  of  their 


wives  and  children :  soldiers,  graduates  of  the  Air 
Forces  Photography  School,  at  Lowry  Field,  in  Denver, 
Colorado. 

Sometimes,  there  are  sensational  assignments.  Re- 
cent film  sent  back  by  combat  crews  of  the  First  Mo- 
tion Picture  Unit  were  taken  by  photographers  who 
were  only  twenty  yards  from  Nipponese  machine  gun 
nests  and  by  cameramen  who  were  only  10,000  feet 
over  the  belching  ack-ack  of  Naples.  One  coveted  as- 
signment was  that  fulfilled  by  combat  cameraman 
Lieutenant  Charles  "Scotty"  Welbourne  who,  on  two 
hours  notice,  left  for  Casablanca,  Africa.  There,  on 
the  lawn  of  the  Anfa  Hotel,  he  shot  Roosevelt. 
Churchill,  Giraud,  DeGaulle. 

Of  course,  most  of  the  men  of  the  First  Motion 
Picture  Unit,  while  they  prefer  shooting  actual  battle 
.scenes,  would  like  to  have  sliot  the  Casablanca  meeting. 
But  on  further  consideration,  most  of  them  insist  they 
know  a  much  more  photogenic  subject.  As  one  tough 
cameraman  explained  "You  can  make  any  movies  you 
like,  shoot  any  old  .subjects  you  want.  I'm  interested 
in  only  one  thing.  I  think  we're  using  too  many  stock 
shots  of  Hitler.  I  want  to  keep  going  until  I  can  catch 
up  with  the  dirty  so-and-so'  and  photograph  him  in 
person" ! 

.\nd  that,  exactly  that,  in  a  nutshell,  is  what  the  First 
Motion  Picture  Unit,  Army  Air  Forces,  Culver  City, 
California,  is  fighting  for ! 


Post- War  Visual  Education  Potentialities 
In  Latin  America* 


THE  Latin  American  market  will  have  tremend- 
ous sales  potentialities  for  American  16mm 
motion  picture  equipment  and  films  of  a  peda- 
gogic type  in  the  post-war  period.  American  visual 
education  libraries  too  w-ill  find  a  waiting  market, 
but  the  films  will  naturally  have  to  be  in  the  lan- 
guage of  the  country.  The  retarding  factor  for  the 
present  is  of  course,  insufficient  funds  in  practically 
all  the  Republics.  The  program  of  showing  educa- 
tional films,  now  being  carried  on  bj^  the  Office  of 
the  Coordinator  of  Inter-American  Affairs  in  Latin 
American  countries,  is  doing  more  to  develop  the 
use  of  motion  pictures  in  teaching  than  any  medium 
yet  devised.  This  agency  with  its  113  16mm  pro- 
jectors and  its  69  mobile  trucks  and  films  is  bring- 
ing home  to  educators  and  civilians  in  the  remotest 
regions  of  Latin  America  the  potency  of  the  motion 
picture  for  teaching  purposes.  Distribution  of  this 
equi'pment  in    Latin   .\merica  is  as  follows: 


]6inni  Sound     Mobile 
Projectors     Trucks 


16mm  Sound     Mobile 
Projectors     Trucks 


Argentina 

Bolivia 

Brazil 

Chile 

Colombia 

Costa    Rica 

Cuba 


6 
2 

24 
9 

7 
2 

10 


2     Haiti 

Honduras 
Mexico 

5     Nicaragua 
10     Panama 

1      Paraguay 

5      Peru 


Dominican  Republic  3  1      El  Salvador 

Ecuador  5  3      Uruguay 

Guatemala  3  1     \'enezuela 


2 
3 


1 

26 

1 


NATHAN    D.    GOLDEN 

Chief,  Motion  Picture  Unit,  Bureau  of 

Foreign  and  Domestic  Commerce,  Washington,  D.  C. 

A  thorough  summary  of  the  present  status  of 
visual  aids  in  each  country,  and  some  fore- 
casts   as    to    probable    hiture    developments. 

Those  who  have  seen  these  films  and  equipmenL'Will 
urge  their  government  and  school  systems  to  provide 
the  necessary  funds  to  give  these  advantages  to  Latin 
American  children. 

\Mien  com])ared  with  the  \  isual  education  de- 
velo])ment  in  the  United  States,  where  over  22,000 
(12,000  silent)  16mm  projectors  are  available  in  the 
schools  and  colleges  for  teaching  purposes,  one  finds  that 
a  country  like  Chile  has  hardly  more  than  400  such 
projectors  in  the  entire  country;  that  in  Argentina 
there  are  several  thousand  silent  16mm  projectors 
but  very  few  are  with  sound :  that  a  country  as 
large  as  Brazil  has  1800  silent  and  approximately 
100  16mm  sound  projectors  owned  by  the  Govern- 
ment for  school  use ;  that  in  countries  like  Costa 
Rica,  Cuba,  Dominican  Republic.  Ecuador,  Hon- 
duras. Mexico,  Nicaragua,  Panama.  Paraguay,  and 
Uruguary,  none  of  the  schools  has  any  projector  equip- 
ment. On  the  other  hand  the  Ministry  of  Education  in 
Colombia  supplies  equipment  and  films  to  all  pri- 
vate and  official  schools,  having  44  projectors 
available.     In  El  Salvadorian  schools  onlv  7  schools 


*A  condensation  from  Foreign  Commerce  Weekly. 


December,    194} 


Page   381 


use  films,  in  Guatemala  and  Haiti  only  two  each. 
In  Peru  the  Ministry  of  Education  maintains  a  film 
library  and  has  encourajjed  visual  education  in  its 
schools  and  collcfjes,  but  only  7  sound  16mm  pro- 
jectors and  400  silent  projectors  are  available  in  all 
of  Peru.  The  following  resume,  by  countries,  ^ives 
a  thumb  nail  sketch  of  the  dearth  of  equipment 
available  in  the  schools  of  Latin  America  and  should 
be  suggestive  for  the  development  of  post-war  mar- 
kets in  this  untapped  region. 

Argentina — There  are  no  available  statistics  on 
the  number  of  institutions  maintaining  film  li- 
braries; but  it  is  estimated  in  trade  circles  that 
there  are  in  Argentina  several  thousand  silent  film 
projectors  and  several  sound  film  projectors  for 
16nim  films.  Some  development  was  registered  in 
the  use  of  35mm  projectors  in  conference  rooms  of 
newer  governmental  and  ])rivate  buildings,  and  of 
the  16mm  projectors  by  some  commercial  firms, 
but  Argentina  is  hardly  a  ready  market  for  any  im- 
mediate development.  A  complete  distribution  of 
16mm  films  has  been  set  up  by  the  United  States 
Coordination  Committee  for  Argentina,  supplying 
American  "shorts"  which  are  shipped  by  govern- 
mental agencies  from  the  United  States.  The 
Archivo  Grafico  of  the  Argentine  Government  has 
set  up  a  film  library  to  which  all  Argentine  pro- 
ducers have  been  asked  to  send  a  copy  of  every 
film.  It  has  also  accepted  films  from  American 
company  representatives  and  seems  interested  in 
distribution  of   16mm   films. 

Bolivia^ — So  far  as  is  known  the  American  Insti- 
tute (in  La  Paz  and  in  Cochabamba)  is  equipped 
for  showing  educational  films  and  has  both  16  and 
35mm  silent  projectors.  It  is  hardly  a  market  for 
films,  however,  since  the  Institute  has  no  funds  for 
this  purpose  and  has  so  far  used  only  films  obtained 
from  the  United  States  Government  for  free  exhi- 
bitions. 

Brazil — Appro.ximateU-  1,900  projectors  of  the 
16mm  size  are  in  operation  in  schools  and  public 
buildings,  most  of  these  owned  and  operated  by 
the  Government.  It  is  believed  that  their  distribu- 
tion parallels  more  or  less  the  distribution  of  motion 
picture  theater  e(|uipment,  the  larger  number  lo- 
cated in  the  central  and  southern  districts  of  the 
countrj-. 

British  Guiana  —  Government  institutions  are 
using  American  portables.  Schools  and  public 
buildings  are  not  equipped  with  jjrojection  appa- 
ratus. The  Georgetown  Consular  District  has  re- 
cently acquired  a  portable  American  16mm  sound 
projector,  and  contemplates  showing  non-theatrical 
films  to  schools,  the  Y.M.C.A.,  4-H  Clubs,  etc.,  in 
Georgetown  and  vicinity. 

Chile  —  The  Institute  of  Educational  Cinemato- 
graphy maintains  a  film  library  of  some  172  silent 
films  and  68  sound  films,  mostly  16mm,  plus  17 
educational  features  of  normal  theater  size.  These 
films  are  exhibited  throughout  the  country,  in 
schools,  clubs,  and  other  institutions.  The  Institute 
has  been  in  existence  over  10  vears  and  most  of  its 


films  are  quite  old,  about  80  per  cent  having  been 
bought  from  the  United  States,  10  percent  from 
England,  and  10  percent  being  of  local  manufacture. 
The  Chile-United  States  Cultural  Institute  has  spon- 
sored, since  February  1942,  showings  of  educational 
films  (which  now  include  53  short  subjects)  sup- 
plied by  the  Coordinator  of  Inter-American  Affairs 
and  by  the  Department  of  State.  Over  300  exhibi- 
tions of  these  films  to  date  have  been  given  in  San- 
tiago, \"alparaiso  and  the  surrounding  district  to 
specially  selected  audiences  totaling  over  100,000 
persons.  Several  Government  agencies,  as  for  ex- 
ample the  Dircccion  General  de  Sanidad,  the  Caja  de 
Scguro  Obrcro.  etc.,  own  projectors  and  a  few  use 
sound  trucks  to  take  educational  films  into  outlying 
districts  not  otherwise  reached  by  any  motion  pic- 
tures. The  limited  amount  of  materials  so  far  avail- 
able has  prevented  any  rapid  expansion  in  this 
program. 

Educational  institutions  have  not  made  any  great 
use  of  films  in  teaching.  A  lack  of  teacher  experi- 
ence in  the  use  of  such  material,  combined  with  the 
small  number  of  films  available,  limits  the  possi- 
bilities. There  are  not  more  than  8  or  10  schools 
in  Chile  with  sound  projectors,  although  more  have 
silent  machines.  None  of  these  machines  are  used 
to  any  great  extent  due  to  the  lack  of  material  and 
the  cost  of  renting  films.  There  are  no  schools  and 
colleges  maintaining  film  libraries. 

Most  of  the  35mm  projectors  in  use  in  Chile  be- 
long to  commercial  theaters.  Of  the  estimated  total 
of  380  35mm  projectors  in  the  country  probably  not 
more  than  10  are  to  be  found  in  educational  insti- 
tutions. As  for  16mm  projectors,  it  is  estimated 
that,  including  those  privately  owned,  there  are 
about  60  sound  machines  and  350  silent.  There  are 
an  estimated  600  8inm  projectors.  The  number  of 
schools  maintaining  slide-film  libraries  in  Chile  is 
not  definitely  known,  but  it  is  perhaps  15  or  20. 

Colombia — The  educational  campaign  in  motion 
picture  films  started  with  the  inauguration  of  the 
"Cultural  Theater"'  in  1943,  but  it  was  onlj-  since 
1939  that  this  campaign  became  really^  active.  The 
free  exhibitions  in  the  "Cultural  Theater"  were 
complemented  in  1940  by  the  "Ambulant  Schools" 
for  the  showing  of  cultural  motion  pictures  in  the  differ- 
ent districts  of  Bogota,  and  through  the  different  Muni- 
cipalities within  the  country.  Equipment  and  trucks  for 
nine  "Ambulant  Schools"  were  made  possible  by  vari- 
ous public  and  private  institutions. 

Due  to  cooperation  by  the  Mini-stry  of  Education, 
which  is  supplying  equipment  and  films,  there  has  been 
a  great  increase  in  the  use  of  pictures  in  all  private  and 
official  schools  and  in  all  institutions  seeking  a  better 
education  for  the  people.  From  20  to  30  private  insti- 
tutions, besides  all  the  Public  Schools,  Education  De- 
partments, and  official  Schools,  are  making  use  of  mo- 
tion picture  material. 

Practically  no  school  or  college  owns  any  educa- 
tional film  material.  There  are  twenty-four  35mm 
projectors  in  use  in  educational  institutions  in  Co- 
lombia and  forty-four  16mm  sound  and  silent  pro- 


Page   382 


The  Educational  Screen 


projectors  available.  Also,  there  are  some  private 
and  official  colleges,  in  addition,  using  slide-films 
with  some  of  their  classes  in  Botany,  Zoology,  Art 
History.  Geography  and  Universal  History,  etc. 
Most  of  this  equipment  also  is  owned  by  the  Minis- 
try of  National  Education.  There  are  no  schools 
maintaining  slide-film  libraries,  and  only  a  few  own 
small  slide  collections. 

The  Ministry  of  National  Education  has  an  ap- 
proximate stock  of  450  films,  of  which  there  are  343 
in  the  "Cultural  Theater"  warehouse  and  the  rest 
is  at  the  schools  and  other  institutions.  Of  this 
stock,  there  are  only  about  250  films  (16mm  and 
35mm)  that  can  be  used.  These  films  are  distributed 
for  free  exhibition  purposes  among  the  schools,  with 
projector  and  operator  if  necessary,  upon  request 
made  to  the  Ministry  of  Education.  During  the 
years  of  1939,  1940  and  1941  the  Ministry  installed 
laboratory  equipment  and  worked  on  the  ])roduction 
of  films. 

Costa  Rica — No  educational  films  proper,  except 
the  ones  exhibited  at  the  Raventos  theater  for 
school  children,  have  been  shown  in  schools  in 
Costa  Rica.  There  is  no  16mm  equipment  available 
except  one  old  silent  projector  which  is  never  used. 
No  plans  are  contemplated  as  far  as  known,  and 
hence  there  is  no  present  market  for  these  materials. 

Cuba — One  firm  exists  in  Habana.  Pdicitlas  Edii- 
cativas,  which  has  made  a  considerable  investment  in  a 
laboratory  and  projectors  to  exhibit  16mm  educa- 
tional and  commercial  films.  The  firm  maintains 
six  sound  projectors  and  three  silent  ones,  and  has 
received  a  few  films  produced  by  United  States 
Government  agencies.  Collaborating  with  this  firm 
are  the  Institiicioii  Hispano-Cubano  de  Cttltura  and  the 
Compania  Industrial  Ciiieinatografica  de  la  Habana, 
the  latter  making  films  for  distribution  in  Cuba. 
Zenith  Films,  S.  A.,  is  another  Habana  firm  which  has 
devoted  much  eflFort  to  circulating  16mm  educational 
films.  This  concern  obtained  several  films  from  Eng- 
land, but  the  last  shipment  was  lost  at  sea.  These  con- 
,  cerns  have  expressed  great  interest  in  the  16mm  U.  S. 
Government  films  particularly  in  the  four  sound  films  in 
Spanish  produced  by  the  Department  of  Agriculture. 
The  35mm  British  propaganda  films  are  showing  in 
practically  all  theaters.  The  American  films  are  shown 
mostly  in  the  various  clubs,  social  organizations,  and 
in  private  projection  rooms,  but  their  circulation  is  far 
below  that  of  the  British  Government  films. 

Educational  institutions  are  hampered,  as  every- 
where, by  lack  of  funds,  and  also  the  difficulty  in 
obtaining  Spanish-version  pictures.  Price  is  a 
drawback.  Local  agencies  protest  that  a  price  of 
$50.00  per  reel,  with  a  $30.00  royalty,  is  too  high. 
A  few  religious  pictures  are  shown  by  Catholic 
schools  and  colleges ;  but  aside  from  these,  the 
schools  see  very  few  educational  films.  No  schools 
or  colleges  at  present  maintain  film  libraries,  al- 
though many  of  them  want  films.  They  buy  occa- 
sionally from  big  American  distributors. 

Aside  from  the  machines  privately  owned,  there 
are  believed  to  be  between  three  and  four  hundred 


projectors  for  silent  16mm  film  in  operation.  Of 
sound  projectors  there  are  not  more  than  about 
thirty.  There  are  two  concerns  now  equipped  to 
dub  films,  or  to  supply  Spanish  sub-titles,  namely 
the  Peliculas  Ediicativas  and  the  Laboratorio  CHIC, 
also  of  Habana. 

Slide-films  are  used  very  little.  A  few  private 
schools  have  made  inquiries  recently  concerning 
slide-films  on  natural  history.  Language  consti- 
tutes a  problem.  None  of  the  schools  maintains  its 
own  slide-film  library.  Ten  schools  in  Habana  now 
take  film  or  slide-film  service,  and  it  was  expected 
that  beginning  last  September  there  would  be  nearly 
a  hundred. 

No  film  libraries  are  maintained  bv  the  Govern- 
ment Educational  Office.  However,  through  co- 
operation of  distributors  mentioned  above,  a  con- 
ference of  school  inspectors  from  each  province  was 
held  in  Habana,  and  films  were  shown  in  an  effort 
to  secure  a  government  subsidy  for  using  films  in 
schools.  A  project  to  get  projectors  in  a  number 
of  schools  by  charging  five  cents  per  pupil  failed 
in  1941. 

Dominican  Republic — As  yet  no  films  are  used 
in  education.  There  is  interest  in  the  field,  but  no 
film  libraries  are  maintained.  The  only  16mm  pro- 
jectors in  the  Republic  are  one  silent  owned  by  the 
Compania  Electrica  and  one  sound  in  ])ossession  of 
the  Legation.  There  are  a  few  8mm  and  16mm  pro- 
jectors in  private  use.  Slide-films  made  by  local 
photographers  are  used  for  advertising  in  theaters, 
but  none  in  schools.  The  Government  does  not  pro- 
duce educational  films,  nor  is  there  any  commercial 
production.  Prospects  for  selling  films  or  equip- 
ment to  schools  are  not  encouraging  at  present. 

Ecuador — The  Ministry  of  Education  has  been 
unable  to  include  motion  pictures  in  its  program. 
Considerable  interest  has  been  shown,  however, 
both  by  the  public  and  private  schools  in  educa- 
tional films  lent  or  exhibited  by  other  groups,  es- 
pecially through  the  courtesy  of  the  cultural  officer 
of  the  American  Embassy  and  the  local  Coordina- 
tion Committee.  Ecuadoran  educators  are  cjuite 
aware  of  the  value  of  educational  films  for  pedago- 
gical purposes  and  unanimously  lament  the  financial 
stringency.  The  Jesuit  and  Christian  Brethren 
schools  have  silent  projectors  and  show  occasional 
religious  films,  usually  by  the  Papal  Nuncio. 

The  Military  College  has  excellent  35mm  sound 
projection  equipment  of  American  manufacture,  is 
said  to  have  a  small  film  library,  a  present  from 
the  German  Legation,  and  has  occasionally  rented 
other  films.  A  few  schools  are  reported  to  have 
16mm  projectors,  but  no  description  or  list  is  avail- 
able. Slide-films  are  not  used  to  any  appreciable 
extent  by  schools  in  Ecuador  and  slide-film  libraries 
are  negligible.  There  is  no  domestic  production  of 
either  educational  or  commercial  films,  save  a  few 
commercials  for  advertising.  The  prospect  for  sales 
in  Ecuador  is  very  poor. 

(To  be  concluded  in  January) 


December,   1943 


Page  383 


MOTION  PICTURES- 
NOT  FOR  THEATRES 


By    ARTHUR    EDWIN   KROWS 


Installment  52. — There  have  been  non-theatrical 
trade  associations  too.  Our  history  offers  a  pass- 
ing  glimpse    of  their   guerrilla  war   for  survival 


TI 1 E  routine  of  non-theatrical  rela- 
tions, as  developed  by  Col.  Joy,  tell, 
in  1926,  largely  upon  Arthur  H.  De- 
Bra,  born  at  Evanston,  Illinois,  in  1891 
and  until  1926  a  public  relations  represen- 
tative of  the  American  College  of  Physi- 
cians and  Surgeons.  .'Ks  1926  was  the  year 
in  which  Will  Hays  officiated  in  bringing 
tlie  College  into  its  association  with  the 
sponsors  of  Eastman  Teaching  Films,  the 
reasonable  conclusion  is  that  De  Bra  im- 
proved an  opportunity  presented  by  that 
contact.  He  still  functions  in  his  original 
capacity  as  assistant  secretary  of  the 
M.P.P.D.A.,  and  is  usually  present  at  the 
sowing  of  what  promise  to  be  important 
new  non-theatrical  projects. 

It  was  in  1926  also  that  a  more  ag- 
gressive official  appeared  regularly  at  the 
Hays  office  with  occasional  non-theatrical 
relations.  This  was  Carl  Elias  Milliken. 
I'rom  1917  until  1921,  for  two  terms, 
he  bad  been  governor  of  the  State  of 
Maine,  where  he  was  born  in  1877.  .Af- 
ter leaving  the  gubernatorial  chair  he 
had  become  interested  in  films.  With  the 
backing  of  certain  Maine  business  men 
he  made  a  few  reels  to  publicize  the  scenic 
advantages  of  the  State.  Philip  Davis 
was  making  subjects  of  tliis  sort  in  that 
period,  and  may  have  had  something  to 
do  with  these.  For  twelve  years  Milliken 
was  a  member  of  the  International  Com- 
mittee of  the  Y.M.C.A.  An  active  Bap- 
ti.st,  once  president  of  the  Xort'icrn 
Convention,  he  toured  the  United  States 
with  John  D.  Rockfcller,  Jr.,  on  belialf 
of  the  Interchurch  World  Movement.  In 
1925  lie  was  on  the  bfiard  of  directors 
of  Harmon's  IJeligious  Motion  Picture 
l-'oundation,  and  this  no  doubt  advanced 
those  negotiations  which  resulted  in  his 
becoming  secretary  of  the  M.P.P.D..^. 

Tocsin 

N'oN-THEATi;ir.M.  producers  were  not 
especially  well  pleased  with  what  they 
considered  incursions  upon  their  own 
field  by  the  Hays  organization.  They 
had  reason  to  know  of  exhibitor  opposi- 
tion to  their  sort  of  show,  and  they  were 
further  disquieted  to  have  many  of  their 
natural  clients  turn  to  Hays  for  his  ad- 
vice in  the  production  of  their  new 
educational,  industrial  and  social  service 
pictures.  In  1927  I.  myself,  after  much 
independent  non-theatrical  work,  had  to 
gain  the  Hays  stamp  of  approval  before 
I  was  pcnnitted  to  make  ten  reels  for 
what  is  now  the  New  York  Museum  of 
Science  and  Industry.  It  happened  that 
the  Hays  representatives  were  as  nuich 
embarrassed  as  I  was  by  the  client's 
insistance  upon  this  point,  but  the  fact 
remained  that  certain  of  our  customers 
were  no  longer  willing  to  take  our 
judgment  of  pictures  as  final  when  they 
could  be  guided  by  the  M.P.P.D.A.  And 


it  is  readily  to  be  seen  that,  with  the 
seeds  of  distrust  thus  sown,  many  small 
producers  not  as  fortunate  as  I  was  in 
having  acquaintances  at  the  Hays  office, 
listened  credulously  to  the  charges  of 
the  Mrs.  Merriams,  Mrs.  Gilmans  and 
others,  and  decided  that  they  must  unite 
against  a  common  foe. 

So,  also  in  1922,  the  year  of  the  Hays 
advent,  there  was  incorporated  in  New 
York  City  the  Motion  Picture  Chamber 
of  Commerce  (Non-Theatrical),  to  co- 
ordinate the  work  and  plans  of  various 
organizations  engaged  in  the  production, 
distribution  and  use  of  films  in  this  field. 


Francis  Lawton's  organization  plan 
awaits  the  heavier  consumer  accept- 
ance that  someday  will  transform 
non-theatricals   into   Big   Business. 

Of  course,  there  already  existed  Watter- 
son  Rothacker's  Screen  Advertisers'  As- 
sociation, begun  in  1914;  but  that  was 
controlled  in  Chicago,  and,  besides,  it 
was  scarcely  broad  enough  to  cover  what 
were  held  to  be  the  needs  of  this  later 
situation.  The  officers  of  the  Chamber 
were:  Edward  P.  Earle,  of  the  Nicholas 
Power  Company,  first  vice-president; 
Frederick  S.  Wythe,  of  the  Screen  Com- 
panion, second  vice-president ;  Charles 
Urban,  of  the  Urban  Motion  Picture 
Industries,  third  vice-president ;  Albert 
M.  Beatty,  of  Herald  Non-Theatrical 
Pictures,  secretary;  and  George  Zehrung, 
of  the  Y.  M.  C.  A. 

The  executive  board  comprised:  Sid- 
ney Morse,  of  the  Grand  Lodge  of  the 
Masons  of  New  York,  chairman ;  Eugene 
Chrystal,  of  the  Eastman  Kodak  Com- 
pany; H.  A.  De  Vry;  Thomas  E.  Fine- 
gan,  of  the  National  Education  Associa- 
tion;   Jeremiah   Jenks,   of  the   American 


Motion  Picture  Corporation ;  W.  W. 
Kincaid,  Pictorial  Clubs ;  Rowland  Rog- 
ers ;  John  Sullivan,  of  the  -Association 
of  National  Advertisers ;  and  George 
Zehrung.  These  gentlemen  belonged  to 
a  "national  committee"  of  twenty-five, 
others  being  Thomas  Alexander,  of 
Charles  Raymond  Thomas,  Inc. ;  Charles 
W.  Barrell,  Western  Electric ;  Alfred 
M.  Beatty;  Ernest  L.  Crandall,  Visual 
Instruction  .Association  of  America ;  Wil- 
lard  B.  Cook ;  Edward  Earle ;  .Alice 
Belton  Evans,  National  Committee  for 
Better  Films ;  Lee  F.  Hanmer,  Rus- 
sell Sage  Foundation ;  Charles  A.  Mc- 
Mahon,  National  Catholic  Welfare 
Council ;  C.  E.  Meleny,  educator ;  Win- 
slow  Russell,  Life  Insurance  Division 
of  the  National  Thrift  Commission ; 
Charles  Urban;  and  F.  S.  Wythe. 

Membership  was  "active"  and  "as- 
sociate," the  latter  classification  being 
open  to  persons  or  organizations  (grouped 
as  educational,  religious,  industrial  and 
welfare)  interested  but  not  directly  en- 
gaged in  production,  distributors  or  users 
of  non-theatrical  motion  pictures  and  ac- 
cessories and  apparatus  therefor.  Each 
"active"  member  was  entitled  to  one  bal- 
lot per  meeting,  and  the  "associate" 
groups,  represented  by  two  delegates 
apiece,  to  one  vote  each.  In  the  national 
committee,  elected  annually,  there  al- 
ways had  to  be  at  least  three  members 
representing  the  producing,  distributing 
and  manufacturing  interests.  Eight  mem- 
bers were  chosen  "at  large." 

Chamber  activities  really  began  in 
April,  1923,  when  the  body  adopted  a 
resolution  petitioning  the  State  of  New 
York  Assembly  to  lift  certain  restrictions 
on  35mm  portable  projection  equipment 
when  acetate  film  was  used.  The  bill 
providing  for  the  change  was  passed  by 
the  Legislature  but  vetoed  by  the  Gover- 
nor because  he  deemed  it  imperfectly 
drawn.  The  first  annual  meeting  of  the 
Chamber  occurred  October  1,  1923,  at 
which  time  a  model  bill  on  the  same 
subject  was  presented  and  endorsed  in 
expectation  of  passage.  .An  aggressive 
campaign  for  larger  membership  was 
carried  on  and,  at  the  annual  meeting 
of  February  23,  1926,  in  New  York  City, 
there  was  a  rearrangement  of  officers, 
if  not  of  organizations  represented.  C. 
W.  Barrell  became  president,  and  the 
vice-presidents  were,  respectively,  George 
A.  Blair  of  Eastman  Kodak;  Otto  Nel- 
son of  the  National  Cash  Register  Com- 
pany; and  Robert  K.  Leavitt  of  the  As- 
sociation of  National  Advertisers. 
George  Zehrung  was  secretary.  J.  H. 
Dreher,  New  York  manager  for  DeVry, 
was  treasurer.  On  the  executive  com- 
mittee were  Willard  B.  Cook,  Arthur  H. 
Loucks,  of  Loucks  &  Norling,  P.  A. 
McGuire     of     International      Projector, 


Page   384 


The  Educational  Screen 


Douglas  A.  Rothacker.  Wellstood  White 
and  F.  Lyle  Goldman. 

In  1925  it  was  decided  that  the  public 
should  be  better  informed  about  non- 
theatrical  work,  so  tlie  Chamber  ar- 
ranged to  present  a  program  of  pictures 
produced  by  its  members,  and  engaged 
for  the  exhibition  in  .'\pril  the  Town 
Hall  auditorium  in  Xew  York.  Much 
favorable  publicity  resulting,  another 
show  of  the  same  sort  was  scheduled  for 
the  following  spring.  On  one  of  these  oc- 
casions a  mild  sensation  was  caused 
among  the  members,  as  among  the  guest 
spectators,  when  C.  W.  Barrell,  as 
chairman  of  the  affair,  made  a  direct 
attack  on  Will  Hays  for  alleged  opposi- 
tion of  the  M.P.P.D..^.  to  non-theatri- 
cals. Hays,  however,  is  not  reported  to 
have  made  any  reply. 

From  then  on  the  Chamber  was  not 
especially  active,  other  than  in  circulation 
of  occasional  letters  urging  support  or 
condemnation  of  this  or  that  legislative 
bill.  These  were  sent  forth  by  the  loyal 
secretary,  George  Zehrung,  who,  had 
he  been  seeking  excuses  to  shirk  the 
duty,  might  have  ideaded  press  of  other 
work.  The  rest  of  the  membership  was 
generally  lukewarm  in  its  action.  Sound 
pictures,  being  novel  then,  helped  to 
divert  the  interest,  and  the  Cliamber 
gradually  drowsed  off  into  a  comatose 
state. 

Rothacker's  "ad-film  men,"  tlie  Screen 
Advertisers'  Association,  which  had  had  its 
inception  about  January,  1941,  led  a  more 
uniformly  active  life,  and  certainly  a 
geographically  wider  one.  Almost  from 
the  start  it  maintained  a  close  tie-in 
with  the  Associated  Advertising  Clubs, 
and  other  forms  of  stimulation,  such  as 
are  used  in  maintaining  interest  in  trade 
associations  generally,  were  vigorously 
employed.  Conventions  were  held  in 
spring  and  fall  in  various  cities.  The 
convention  at  St.  Louis,  October,  1924. 
was  attended  by  members  from  New 
York,  Pennsylvania,  Ohio,  Illinois. 
Texas,  Washington,  D.  C,  Michigan  and 
Missouri.  In  July.  1924.  Bennett  Chap- 
pie, of  the  American  Rolling  Mill  Com- 
pany, of  Middletown,  Ohio,  one  of  the 
enthusiastic  active  members,  addressed 
the  Screen  Advertising  Association  of 
Great  Britain  and  Ireland  at  the  London 
convention  of  the  Associated  Advertis- 
ing Clubs  of  the  World. 

An  annual  meeting  of  the  Screen  Ad- 
vertising Association  was  held  at  Cleve- 
land, March  12-13,  1925.  It  was  an- 
nounced then  that,  in  cooperation  with 
the  headquarters  of  the  Associated  .■\d- 
vertising  Clubs  and  the  Motion  Picture 
Producers  and  Distributors  of  America. 
Inc.,  it  would  publish  and  circulate  "a 
series  of  bulletins  carrying  educational 
data  for  those  who  contemplate  the  use 
of  the  screen  as  an  advertising  medium." 
Officers  elected  were :  president.  Douglas 
D.  Rothacker,  Rothacker  Film  Manu- 
facturing Company,  Chicago;  vice-presi- 
dent, Elmer  Kuhn ;  secretary-treasurer, 
George  J.  Zehrung,  the  International 
Y.M.C.A.,   New   York  City. 

The  executive  committee  consisted  of : 
Bennett  Chappie,  American  Rolling  ^lills 
Company,  Middletown,  Ohio ;  Otto  Nel- 
son,   National    Cash    Register   Company, 


Dayton,  Ohio ;  George  Fessenden,  North 
East  F^lectric  Company,  Rochester,  New 
York ;  Verne  Burnett,  General  Motors 
Corporation,  Detroit,  Michigan ;  George 
Blair,  Eastman  Kodak  Company.  Roches- 
ter, New  York ;  A.  V.  Cauger,  United 
Film  Ad  Service,  Kansas  City,  Mis.souri ; 
H.  A.  Rosenberg,  Standard  Slide  Cor- 
poration, New  York  City;  H.  A.  De  \'ry 
of  the  De  Vry  Corporation,  Chicago ;  H. 
M.  Richie  of  the  Michigan  Motion  Pic- 
ture Theatre  Owners  of  .America,  De- 
troit; R.  K.  Hammers  of  the  H.  J. 
Heinz  Company,  Pittsburgh;  F.  J.  Byrne, 
E.  I.  duPont  de  Nemours  Company,  Wil- 
mington, Delaware ;  and  A.  J.  Moeller. 
Moeller  Theatre  Service  Company,  New 
York  City.  A.  K.  Gundelach.  of  the 
DeVry  Corporation,  was  elected  a  mem- 
ber of  the  National  Advertising  Com- 
mission. 

The  following  new  members  were  un- 
animously brought  in :  J.  Don  Alexander, 
president  of  the  Alexander  Film  Com- 
pany, Denver,  Colorado  ;  Harry  D.  Kline, 
advertising  manager  Continental  Motors 
Corporation,  Detroit ;  O.  H.  Briggs,  sales 
manager  duPont-Pathe  Manufacturing 
Film  Corporation,  New  York  City ;  B. 
J.  Knoppleman,  treasurer  Excelsior  Illus- 
trating Company,  New  York  City ;  C.  H. 
and  R.  M.  McC.  Ward,  both  of  Queen  City 
Film    Company.    Cumberland,    Maryland. 

By  invitation  of  the  National  Cash 
i^egister  Company,  the  Screen  Adver- 
tisers' Association  (through  Otto  Nelson, 
of  cour.se  held  its  fall,  1925,  meeting  at 
Dayton  in  the  National  Cash  Register 
"Company  Schoolhousc."  For  several 
months  the  Educational  Screen  main- 
tained a  department  for  this  Association. 

.At  the  annual  convention  of  the  Screen 
Advertisers'  .Association  in  New  Orleans. 
February  10-13.  1926,  th°  following  of- 
ficers were  elected  for  the  ensuing  year : 
Douglas  D.  Rothacker,  president,  for  his 
sixth  term ;  vice-presidents.  A.  V,  Cauger 
and  Otto  Nelson ;  secretary,  Marie  Good- 
enough,  of  the  Educational  Screen ;  and 
treasurer,  George  Zehrung.  The  exec- 
utive committee  comprised  Bennett  Chap- 
pie, Verne  Burnett,  F.  J.  Byrne,  Humph- 
rey M.  Bourne  of  the  H.  J.  Heinz  Com- 
I)any ;  R.  V.  Stamhaugh  of  the  .Art  Film 
Studio  at  Cleveland ;  Robert  McCurdy  of 
Philadelphia ;  George  Blair ;  H.  .A.  De 
Vry;  James  P.  Simpson  of  Dallas;  M. 
J.  Caplan  of  Detroit;  William  Johnson 
of  the  Motion  Picture  Advertising  Serv- 
ice of  New  Orleans ;  and  Allan  Brown 
of  the  Bakelite  Corporation  of  New  York 
City. 

About  1926,  when  Carlyle  Ellis  and  I 
were  associated  in  work,  Ellis  was  visited 
by  a  handsome,  smiling,  dynamic  gentle- 
man who  introduced  himself  as  Francis 
Lawton,  Jr.  Ellis,  like  most  of  us  in 
non-theatricals  who  were  almost  per- 
suaded by  the  dribbling  patronage  to  be 
had  in  the  line  that  we  simply  could  not 
be  good  business  men,  was  fascinated  by 
a  personality  which  could  talk  so  posi- 
tively about  what  was  wrong  with  our 
industry,  and  about  how-  easily  a  really 
modern  executive,  such  as  Mr.  Lawton 
was,  for  instance,  could  bring  the  money 
pouring  in  to  us.  It  was  Lawton's  idea 
(as  it  has  been  the  idea  of  many  others 
over    the    years,)     that    non-theatrical 


producers  should  form  a  league  for  their 
uniform  improvement.  Frank  Lawton,  of 
course   would   be   the    salaried   president. 

Although  such  a  proposition,  made  by 
a  stranger,  naturally  seemed  to  us  at 
first  merely  a  scheme  to  exploit  us,  I 
quickly  discovered,  when  I  came  to  know 
Frank  better,  that  he  was  sincerely  and 
characteristically  striving  to  realize  a 
constructive  idea.  Intelligent,  forceftil, 
enthusiastic,  not  merely  undaunted  but 
actually  stimulated  by  heavy  sales  re- 
sistance, and,  above  all,  persuaded  of  the 
conquering  powers  of  modern  merchar.dis- 
ing  principles  as  laid  down  in  the  stand- 
ard texts,  he  has  been,  in  the  years  of 
his  application  to  non-theatricals,  a  truly 
helpful  influence.  He  had  been  traffic, 
advertising  and  sales  contract  manager  of 
the  Chesapeake  &  Potomac  Telephone 
Company  at  Baltimore,  sales  and  adver- 
tising engineer  of  the  American  Tele- 
phone and  Telegraph  Company,  and 
representative  of  various  newspaper  roto- 
gravure sections — sufficient  to  account 
for  his  unswerving  belief  in  the  im- 
portance of  volume  business.  This  view' 
had  been  intensified  by  several  years'  ad- 
ditional experience  as  a  vice-president  of 
the  Jam  Handy  Picture  Service,  where 
statistical  surveys,  slogans  and  "pep"  meet- 
ings were  frequent.  .As  a  longtime  mem- 
ber of  the  Advertising  Club  of  New  York 
and  chairman  of  its  motion  picture  com- 
mittee, he  has  done  much  over  the  in- 
tervening years  to  impress  the  represen- 
tative publicity  men  who  have  gathered 
there  with  the  possibilities  of  films  in 
the  lines  of  their  own  interests.  But, 
so  far  as  stirring  the  non-theatrical  pro- 
ducers and  distributors  to  an  association 
which  would  make  proper  test  of  l<is 
talents  was  concerned,  he  was  thwarted 
by  conditions  in  which  the  coming  of 
sound  pictures  and  a  heavy  economic  de- 
pression loomed  large.  In  New  York 
City  he  found  such  nourishment  as  the 
field  would  still  provide  as  head  of  his 
own  production  company.  General  Busi- 
ness Films,  incorporated  in  1928  and  con- 
tinuing. 

Lawton's  plan  remains  unshaken  for 
its  good  sense.  It  aimed  at  the  physical 
consolidation  of  leading  commercial  and 
educational  film  producers  in  each  major 
city  of  the  United  States  from  Coast  to 
Coast,  their  respective  volumes  of  busi- 
ness to  be  combined  for  mutual  strength 
and  to  end  duplicating  efforts  and  multi- 
plied expenses.  In  effect  it  took  over 
the  expansion  tnethods  of  every  other 
American  industry  as  these  could  not 
be  applied  by  sectional  or  small  indepen- 
dent producers.  The  plan  did  not  come 
to  fruition  at  its  first  budding,  but  from 
it  Lawton  salvaged  for  the  benefit  of  his 
disciples  a  business  operating  agreement 
involving  certain  regional  firms,  calling 
upon  them  tOiact  as  correspondents  in  all 
benefits  but  sales.  To  the  date  of  this 
writing  no  active  party  to  that  agree- 
ment so  long  ago  is  reported  to  have 
cancelled. 

It  was  at  the  .Advertising  Club  of 
New  York,  in  the  summer  of  1943,  that 
Don  Carlos  Ellis,  of  Films  of  Com- 
merce, Inc.,  and  William  J.  Ganz.  both 
of  New  York  City,  tried  to  bring  non- 
theatrical  producers  together  once  more 


December,    194} 


Page   385 


Mussolini  himself  opened  the  con- 
vention of  the  League  of  Nations 
Educational  Cinematographic  Insti- 
tute at  Rome  in  1934.  His  fascist 
regime   was   destined   to   wreck   it. 

on  a  basis  of  excluding  clients  from  the 
association.  They  believed  that  this 
would  eliminate  the  basic  fault  which 
had  caused  the  downfall  of  the  Motion 
Picture  Chamber  of  Commerce  (Non- 
Theatrical).  .-Vmong  those  present.  C.  W. 
Barrell,  Douglas  Rothacker,  W.  G.  Nich- 
ols (representing  the  powerful  new  Audio 
Productions,  Inc.,)  listened  carefully 
without  great  enthusiasm.  Perhaps  the 
trouble  this  time  was  the  implied  con- 
tradiction of  using  a  clients'  club  in 
which  to  talk  of  barring  clients  from 
another  club. 

In  addition  to  the  commercial  interest 
of  the  Advertising  Club,  there  should  be 
noted  also  that  of  the  National  Indus- 
trial .\dvertisers'  Association  of  New 
York  City.  Under  the  chairmanship  of 
Clinton  F.  Ivins,  of  Pathescope,  a  sur- 
vey on  the  uses  of  films  in  industry  was 
conducted  early  in  1932  by  a  motion  pic- 
ture committee  cooperating  with  a  similar 
committee  in  the  United  States  Chamber 
of  Commerce.  Unhappily,  the  effort  was 
not  especially  productive.  Out  of  2,000 
questionnaires  mailed,  only  110  were  re- 
turned with  answers,  and  those  not  to 
any  very  useful  cflFect — that  is,  effect 
as  discernible  in  the  .Association's  slender 
published  report,  fifty  cents  per  copy. 

The  League  of  Nations 

Tiif  broad  subject  of  non-theatrical 
J  organizations  must  include  also  joint 
t  promotional  efforts  in  other  departments. 
That  would  mean  chiefly  the  many  group 
activities  which  have  sought  to  develop 
pedagogical  films.  Concerning  such  move- 
ments in  this  country  sufficient  has  been 
Kivcn  for  the  present ;  but  reaching  beyond 
the  United  States,  more  than  casual 
notice  sliould  be  taken  of  a  phenomenon 
which   gained   its    first   practical   impetus 

I     in  France,  and  which,  after  exploitation 
in  Italy,   was  virtually  destroyed  in   the 
!     glowering  circumstances  that  swelled  in- 
'■     to  World  War  No.  2. 
I         Early  in  1919,  at  the  Peace  Conference 


in  Paris,  had  been  approved  the  principle 
of  the  League  of  Nations.  In  the  ne.xt 
few  years  the  ramifications  of  the 
League  idea  produced  a  French  com- 
mittee on  intellectual  cooperation  which 
devoted  considerable  attention  to  the 
uses  of  motion  pictures.  This  com- 
mittee was  enthusiastic  and  active.  The 
energy  which  it  displayed  resulted,  from 
September  27  to  October  3,  1926,  in- 
clusive, in  an  International  Motion  Pic- 
ture Congress  at  Paris,  opened  by  the 
President  of  France.  The  delegates,  rep- 
resenting approximately  a  score  of 
participating  nations,  were  received  at 
the  ftlysce.  While  the  subject  was  dis- 
cussed in  its  broadest  aspects,  probably 
the  most  effective  w'ork  was  accomplished 
with  the  non-theatrical  phases,  the  a- 
vowed  aim  there  being  to  coordinate, 
for  world-wide  benefit,  all  of  that  sort 
which  was  being  done  in  various  coun- 
tries. 

From  -April  7  to  12  inclusive,  1927,  a 
Eurojiean  Educational  Film  Conference 
was  held  at  Basel,  Switzerland,  to  de- 
velop further  the  definite  proofs  of  in- 
terest in  the  subject  that  had  been  evoked 
by  the  earlier  sessions,  once  more  with 
delegates  from  many  countries  in  at- 
tendance. Shortly  afterward  the  Italian 
Government  volunteered  to  support  all  of 
the  projects  which  had  been  specified 
by  the  Easel  conference  as  needful,  the 
work  to  be  carried  on,  of  course,  as  part 
of  the  entire  League  of  Nations  activity. 
The  offer  was  accepted  and,  in  October, 
192H,  there  was  established  at  Rome, 
in  the  historic  Palazzo  della  Stamperia 
donated  by  the  Italian  Government  for 
the  purpose,  the  International  Cinema- 
tographic Institute  of  the  League  ot 
Nations. 

The  announced  main  purpose  was  to  in- 
crease the  production  and  to  facilitate 
the  use  of  motion  pictures  in  the  general 
field  of  education.  It  was  not  to  pro- 
duce films  itself,  however,  merely  to 
encourage  others  to  do  so.  It  set  itself 
to  remove  customs  barriers  limiting  edu- 
cational reels,  to  promote  circulation  of 
subjects  which,  in  the  opinion  of  its 
officers,  were  deemed  worthwhile,  and  to 
study  and  report  on  cinema  legislation 
everywhere.  The  director  of  the  Insti- 
tute was  the  capable  and  efficient  Dr. 
Luciano  de  Feo.  Among  others  in  the 
administrative  council  were  named :  Louis 
Lumiere,  member  of  the  Institute  of 
France;  Carl  Milliken,  secretary  of  the 
M.P.P.D.A.:  and  Dr.  Vernon  Kellogg, 
president  of  tlie  National  Council  for 
Researches  in  the  United  States. 

Probably  the  most  widely  known  ac- 
complishment of  the  Institute  was  the 
monthly  publication,  simultaneously  in 
English,  French.  Italian,  German,  and 
Spanish,  of  the  Inlcniational  Review  of 
EdiicaHoiia!  Cincmnloyraphy,  begun  with 
the  issue  of  July.  1929,  and  for  S(mie  time 
subsequently  maintained  as  a  clearing- 
house of  relevant  information. 

In  1932.  at  a  convention  called  by  the 
Institute  and  attended  by  delegates  from 
twenty-nine  nations,  it  was  decided  to 
abolish  customs  taxes  on  educational  films 
crossing  frontiers,  the  Institute  being 
given  authority  to  decide  which  pro- 
ductions  should   be  classified   under  that 


heading.  .At  the  1934  convention,  at- 
tended by  representatives  of  thirty-eight 
nations  and  opened  with  a  speech  by 
Mussolini  himself,  agreements  were 
reached  for  the  world  standardization  of 
16mm    film. 

Indeed,  portentous  dianges  were  in  the 
air  in  1934.  Efforts  were  being  made 
again  to  launch  the  Italian  theatrical 
film  industry  with  the  success  that  had 
attended  it  before  the  First  World  War 
had  blighted  its  growth,  the  heyday  of 
Cines.  Someone  decided  that  the  Inter- 
national Revicii'  needed  "streamlining," 
and  the  publication  appeared  for  1935 
with  a  new  format  and  a  new  title — In- 
tcrcine.  Unhappily,  however,  that  ap- 
parently was  to  be  the  same  year  of  its 
suspension;  there  seem  to  have  been  no 
further  issues  after  1935. 

In  December,  1935,  it  became  known 
that  Italy  had  quit  the  League  of  Nations, 
thorn  in  the  flesh  of  the  new  "Axis" 
Powers.  In  April,  19,58,  the  League  of 
Nations  secretariat,  at  Geneva,  announced 
the  opening  of  a  worUIwide  competition 
for  scenarios  (in  English  or  French)  for 
tW'O  educational  sound  movies,  one  to 
present  the  fundamental  purposes  and 
activities  of  the  League's  accomplishment. 
Prizes  for  the  first  were  set  at  2,000 
Swiss  francs  and  for  the  second  700 
francs,  an  additional  sum  to  be  given  if 
the  author  of  either  scenario  should  as- 
sist in  production. 

Meanwhile,  Mussolini's  own  film  plans 
continued.  His  son  was  named  to  con- 
duct the  Italian  industry,  and  May  21, 
1940,  "the  first  international  competition 
for  agricultural  films"  was  held  at  Rome 
for  a  first  prize  of  6,500  lire  ($328.)  It 
was  won  by  an  American  motion  picture, 
"Poultry — a  Million  Dollar  Industry." 
Two  lesser  prizes  were  awarded  to  two 
other  .American  subjects :  "Clouds — a 
Weather  Forecast"  and  "Sugar  Cane 
Production." 

Why  the  educational  films  section 
of  the  League  of  Nations  died  out  in 
Italy,  and  its  extensions  withered  in  the 
rest  of  Europe,  is  too  readily  explained 
by  the  catastrophic  onrush  of  World 
War  (Global  War)  No.  2.  There  will 
be  more  concerning  the  details  when  this 
fundamentally  chronological  history 
comes  to  a  later  chapter. 

(To   be   continued) 


Page   386 


The  Educational  Screen 


[jris:  J2iis.xatiiXE  in  ^  l/iiuaL  lJn±t%uation 


A    Monthly    Digest 


ETTA  SCHNEroER  RESS.  Editor 

New  York  University  Film  Library 


STATUS  AND  TRENDS 

Education   Raises  Its  Sights — Earl   Selby — Coronet,  14:   79, 
September,   1943. 

By  bringing  our  children  new  and  enriched  experiences,  sharp- 
ening their  acumen,  and  enlarging  their  imagination,  the  author 
finds  that  visual  education  is  fulfilling  the  aims  of  John  Dewey 
who  forty  years  ago  wrote,  "I  believe  that  schools  must  present 
life — life  as  real  and  vital  to  the  child  as  that  which  he  carries 
on  in  the  neighborhood  or  on  the  playground."  It  is  the  con- 
stant emphasis  upon  reality  that  makes  visual  education  im- 
portant. 

In  light  of  the  efficacy  of  visual  aids,  proved  by  countless 
school  experiments  and  now  by  Army  and  Navy  training  in- 
structors, the  question  is  raised :  why  are  only  one  out  of  every 
nine  American  schools  using  visual  aids  ?  "The  answer  lies 
partly  in  the  jumbo-jumbo  traditionalism  of  American  educa- 
tion, partly  in  difficulty  of  access,  partly  in  the  history  of  visual 
aids." 

In  the  first  World  War  the  Army  discovered  the  amazing 
ability  of  motion  pictures  to  train  soldiers  and  because  of  the 
preposterous  claims  advanced  for  films  at  that  time,  the  schools 
were  disappointed  when  they  came  to  use  them.  Gradually, 
however,  visual  aids  gained  a  foothold  in  more  and  more  schools 
as  a  saner  approach  developed.  The  author  sees  the  future  of 
visual  education  laden  with  potentialities.  "After  this  war  .  .  . 
the  last  ditch  of  the  traditionalists  in  education  will  be  crossed, 
then  equipment  will  cost  less  and  school  systems  will  have 
little  difficulty  in  obtaining  it." 

Movies    in   the    Postwar    World:    Dr.    Walter    W.    Pettit, 
Director,    N.    Y.   School    of    Social    Work,    Columbia    Uui- 
versity — New  Monies  18:4  October,  1943. 
Among  the  broad  constructive  factors     that  can  be  shown 
through  films  are :   the  inherent  worth  of  the  individual.  The 
recognition  of  other  cultures  as  having  a  place  in  the  civiliza- 
tion and  the  essential  quality  of  racial  tolerance. 

ADMINISTRATION 

Seeing  Is  Believing — Dorothea  Pellett — Kansas  Teacher,  Sep- 
tember, 1943,  p.  32. 

A  description  of  the  work  of  the  Visual  .\ids  Center  in  serv- 
ing the  teachers  of  Topeka.  In  the  Center,  located  at  one  of 
the  city  schools,  there  are  displays  of  materials  and  facilities 
for  showing  films  to  which  teachers  may  bring  their  classes. 
Where  desired,  the  teacher  may  borrow  the  materials.  Selec- 
tion of  materials  is  carried  on  by  the  assistant  director  with  the 
aid  of  a  teachers'  committee.  This  committee  also  helps  to  keep 
teachers  informed  of  suitable  materials  for  their  own  needs. 
There  is  a  workroom  and  material  storeroom  connected  with 
the  Center,  where  new  materials  are  made  and  repairs  carried 
out. 

MUSEUMS 

Valentine  Museum  Goes  to  Schools — Naomi  E.  Gooch  and 

Virginia  McK.  Claiborne,  Valentine  Museum,  Richmond,  Va. 

— Virginia  Journal  of  Education,  37:103   November,  1943. 

A  description  for  the  teachers  of  Virginia  of  the  free  loan 

service  provided  by  the  state  museum.    Sturdy  boxes  containing 

realia,  mounted  pictures  and  related  printed  material  are  shipped 

by  express  to  schools  within  the  state.     Among  the  exhibits  are 

those   dealing    with    state   history,    people   in    other    lands    and 

American   history  and  geography.    Exhibits  are  based  on   the 

Richmond  elementary  curriculum,   but  primary  and  secondary 

students  sometimes  find  them  useful. 


UTILIZATION 

Visual  Aids  in  Industrial  Training — Management  Research 

Division,    National    Industrial    Conference    Board,    Inc.,   247 

Park  Avenue,  New  York,  1943.    (Studies  in  Personnel  Policy, 

No.  49)  60  pp. 

This  study  was  made  to  survey  the  extent  to  which  visual 
aids  are  being  used  in  accelerating  the  training  and  re-training 
of  war  workers,  and  to  provide  a  basis  for  future  planning  in 
the  use  of  these  materials. 

The  report  is  available  in  limited  quantities  and  provides  the 
result  of  a  questionnaire — supplemented  by  some  visitation — of 
239  companies.  Plant  administrators,  employees  and  visual  edu- 
cators were  consulted. 

It  first  summarizes  briefly  the  research  findings  and  trends 
in  the  use  of  pictures  in  education.  Then  follows  a  sketch  of 
the  use  of  visual  aids  in  industry,  including  production. 

The  research  findings  with  respect  to  current  use  in  industrial 
training  reveal  that  148  (62%)  of  the  firms  reporting  use 
visual  aids  and  nine  more  are  planning  to  do  so.  All  Technical 
Colleges  questioned  reported  such  use.  It  was  found  that  the 
decision  to  use  visual  aids  is  not  influenced  to  any  appreciable 
extent  by  the  number  of  employees.  Such  use  is  a  comparatively 
new  practice  dating  usually  since  the  war  speed-up. 

Sound  films  and  sound  slidefilms  are  used  most  frequently, 
probably  because  these  are  supposed  to  be  the  most  efltective 
but  more  likely  because  materials  are  most  plentiful  in  these 
media.  There  is  a  trend  toward  the  combined  production — 
and  use — of  a  sound  motion  picture  and  a  silent  filmstrip. 

Here  are  some  figures  on  projectors  owned  by  128  companies : 
166  silent  film  projectors,  342  sound,  65  filmstrip,  696  sound 
filmstrip.  Materials  are  most  frequently  purchased  and  some- 
times borrowed,  rented  or  produced. 

The  remainder  of  the  bulletin  is  devoted  to  specific  sug- 
gestions on  utilization  and  administration  of  visual  aids  as  as- 
sistance to  those  firms  which  want  specific  guidance  for  future 
planning. 

The  World  Ahead:  Films  May  Have  Big  Role  in  Retrain- 
ing Service  Men  for  Industry — Emmet  Crozier — Nciv  York 
Herald  Tribune,  November  28,  1943. 

A  feature  article  describing  to  the  public  the  great  strides 
made  in  industrial  training  at  war  plants  and  in  schools  and 
induction  centers,  through  the  use  of  the  films  produced  by  the 
U.  S.  Ofiice  of  Education  and  others.  Of  the  30,000  prints  made 
of  the  first  48  titles  from  that  ofiice,  for  example,  10,000  went 
to  the  Army  and  Navy,  10,000  to  industrial  plants,  and  10,000 
to  schools.  Surveys  show  that  the  films  hold  the  attention  of 
students  and  enable  them  to  'grasp  essential  facts  and  develop 
understanding'  more  quickly  than  is  the  case  in  ordinary  in- 
struction.   Less  scrap  is  produced  by  film-trained  students. 

Free  Films  Speed  Civilian  War  Training— Milton  M.  Enzer, 
Deputy  Director,  Office  of  War  Training,  N.  Y.  State  War 
Council— .Vra-   York   Stat'C   Education,  31  :38   October,   1943. 
The    Council    maintains   an    Ofiice    of    War    Training    (353 
Broadway,    Albany    7,    N.Y.)    which    distributes    instructional 
films  for  school  and  community  use  in  the  state.     This  agency 
has  already  produced  three  films  and  issues  a  catalog  and  hand- 
book free.    One  film,  "Care  for  Children  of  Working  Mothers" 
is    nearing   completion    and    will   be    available    soon.       It   was    I 
produced   in   cooperation   with   the    Bureau   of   Child   Develop-    1 
ment  and  Parent  Education  of  the  N.Y.   State  Department  of 
Education  and  appproved  by  the  chairman  of  the  N.Y.   State 
War  Council's  Child  Care  Committee,  the  N.Y.  State  Nursery 

(Concluded  on  page  401) 


December,   1943 


Page  387 


The   Post-War  World— In  Hand  Made  Lantern  Slides 


By    ANN    GALE 

ALL  of  us  must  be  thinking  about  the  international 
problems  which  face  us  in  the  post-war  world.  The 
following  six  slides  could  be  used  as  the  basis  for  short 
talks  in  history  in  junior  or  senior  high  school  classes. 

1.)  The  relief  of  the  underfed  is  the  most  immediate  of  all 
problems.  .Mready  in  Africa  and  Italy  we  have  started 
this  work  by  giving  seeds  and  farm  machinery  as  well  as 
food  so  that  the  people  may  help  themselves. 

2.)  The  .Atlantic  charter  promises  a  plebiscite  before 
national  boundaries  are  changed.  How  are  we  going  to 
assure  that  the  people  understand  for  what  they  are  voting 
and  that  the  election  is  fair? 


Roosevelt  High  School,  Chicago 

3.)  What  kind  of  control  can  be  used  to  see  that  the 
youth  in  conquered  countries  will  not  receive  a  warped 
education? 

4.)  In  order  to  keep  the  peace  shall  we  use  a  revised 
League  of  Nations  to  settle  international  affairs? 

5.)  Or  shall  we  use  some  form  of  federal  world  govern- 
ment? 

6.)  What  will  happen  to  the  colonies  in  Africa  and  the 
Far  East?  Could  they  be  administered  by  an  international 
board  for  the  benefit  of  all  nations? 


0 


REPRESENTATION      ©Y 
POPLLLATION  ISATIOrSS 


^*JAfc 


ECONOMIC  ^^O^UHAnOHAL 

ItSTERNAXIOMAL       ^^    /^RMV 


The  sim- 
plest type 
of  h  and  - 
made  slide 
is  made  by 
drawing  or 
tracing  on 
finely  fin- 
ished etched 
glass  with 
0  r  dinar y 
medium  lead 
pencil.  Col- 
or, by  spe- 
cial crayons 
or  inks,  en- 
hances the 
slides  great- 
ly. Fine  ef- 
fects are  ob- 
tained by 
blending 
with  cray- 
ons. About 
one  -  third 
inch  margin 
should  be 
left  all 
around  the 
slide.  The 
slide  is  read- 
ily cleaned 
with  soap  or 
washing 
powder  to 
receive 
a  new  pic- 
ture. 


-fol^'  ^'fi^ 


REOROANIXED  L£ACUE  of  NATlOrlS 
NA/ITH     INTERNAnOMAL    AR.MY 


Page   388 


The  Educational  Screen 


The  Film  and  International  Understanding 


Photoplays  For  International 
Understanding 

WILLIAM    LEWIN 
Weequahic  High  School, 
Newark,  New  Jersey 

AMERICA'S  splendid  isolation  is  no  more.  Now 
that  tlie  end  of  World  War  II  is  in  sight,  teach- 
ers are  preparing  for  the  long-awaited  era  of 
international  understanding. 

Already  administrators  of  visual  instruction  are  seek- 
ing new  materials  to  make  luminous  the  new  curricu- 
lum tmits  being  formulated  by  the  Liaison  Committee 
for  International  Education  under  the  chairmanship 
of  Grayson  X.  Kefauver,  dean  of  the  School  of  Edu- 
cation at  Stanford  University,  whose  report  appears 
in  the  November  194.3  number  of  the  Bulletin  of  the 
National   Association   of   Secondary-School   Principals. 

In  relation  to  these  new  units  on  international  un- 
derstanding, forthcoming  photoplays  of  interest  to 
teachers  and  students  include  the  screen  version  of 
Wendell  Willkie's  One  World  (to  be  released  after  the 
1944  election)  and  the  screen  biography  of  Woodrow 
Wilson,  now  being  prepared  by  Colonel  Darryl  Zanuck, 
head  of  the  Twentieth  Century-Fox  studio.  Walt  Dis- 
ney is  also  preparing  a  Technicolor  feature  designed 
to  cultivate  Latin-American  good  will,  Surprise  Pack- 
age. This,  following  Sahidos  Amigos,  makes  good 
Mr.  Disney's  promise  of  a  whole  series  on  Latin  Amer- 
ica along  the  most  constructive  lines. 

Current  films  in  this  field  include  also  the  Disney 
short  subject  on  Reason  inid  Emotion,  which  explains 
how  Emotion  believes  unfounded  rumors,  while  Rea.son 
discards  them.  Watch  on  the  Rhine,  based  on  Lillian 
Hellman's  successful  play,  shows  that  idealistic  Ger- 
mans, even  under  the  present  unprecedented  Reign 
of  Terror,  are  working  for  right  and  freedom  and 
international  understanding. 

Mrs.  Hellman's  original  screen  play.  North  Star. 
recently  given  a  fine  production  by  Sam  Goldwyn,  is 
a  Russian  version  of  the  story  of  resistance  to  the 
invader  told  so  well  in  The  Moon  is  Down.  It  serves 
to  show  that  Russians  are,  after  all,  people.  The  screen 
version  of  Ambassador  Joseph  E.  Davies'  Mission  to 
Moscow,  which  stirred  up  some  controversy,  served 
nevertheless  to  point  up  some  issues  which  have  re- 
cently been  resolved  through  the  dramatic  three- 
power  conference  at  Moscow  in  terms  of  interna- 
tional  cooperation   toward   world   security. 

There  have  been  a  number  of  fine  films  on  the 
plight  of  child  victims  of  the  war,  of  which  Journey 
jor  Margaret,  based  on  a  story  by  W.  L.  White,  is 
a  good  example.  Such  films  utilize  the  universal 
appeal  of  innocent  childhood  as  a  means  toward  in- 
ternational understanding.  Illustrated  reviews  of 
these  and  many  other  films  of  interest  to  progres- 
sive educators  may  be  found  in  "Film  and  Radio 
Discussion  Guide,"  of  which  the  present  writer  is 
happy   to   be    the    editor.      The    magazine    is   an    out- 


DR.   JOHN   E.   DUGAN.   Editor 
Haddon  Heights,  New  Jersey,  Schools 


EDITOR'S  NOTE— Dr.  Lewin,  who  is  Chairman  of  the 
Ccmmittee  on  Motion  Pictures  of  the  Department  of  Secon- 
dary Teachers  of  the  National  Education  Association,  is 
an  expert  on  the  educational  use  of  photoplays,  past  and 
present,  many  of  which  now  are  available  in  16mm.  His 
work  is  known  both  in  this  country  and  abroad,  and  his 
book  Photoplay  Appreciation  In  .4nierican  High  Schools 
was  fundamental  to  the  whole  photoplay  appreciation  move- 
ment. 

Photoplays  have  a  moving  emotional  appeal  which  the 
purely  educational  film  often  lacks.  Dr.  Lewin's  article 
reminds  us  that  this  appeal  can  be  intelligently  directed 
and  utilized  by  educators  in  the  field  of  international  under- 
standing as  well  as  in  other  areas. 


growth  of  pioneering  committee  activities  in  the 
National  Council  of  Teachers  of  English  and  the 
Department  of  Secondary  Teachers  of  the  National 
Education  Association. 

Illustrated  classroom  study  and  di.scussion  guides 
to  the  utilization  of  photoplays  that  serve  to  build  inter- 
national understanding  through  appreciation  of  basic, 
non-controversial  elements  of  German,  French,  Rus- 
sian, Chinese,  British,  and  Latin  American  life — many 
of  them  now  available  in  16mm — include  those  deal- 
ing with  April  Ronmnce  (biographical  film  dealing 
with  Franz  Schubert)  :  the  screen  version  of  Shake- 
speare's As  You  Like  It.  with  Elizabeth  Bergner  and 
Laurence  Olivier  ;  Beethoven,  a  musical  film  in  French  ; 
Captains  Courageous,  from  which  excerpts  are  avail- 
able in  16mm. ;  The  Charge  of  the  Light  Brigade, 
based  on  Tennyson's  poem ;  The  Citadel,  which  raises 
the  great  ethical  issues  of  the  British  medical  profes- 
sion— issues  met  so  nobly  by  the  Red  Cross  today ; 
Conquest,  dealing  with  Napoleon's  relations  with  the 
Poles ;  Drums,  a  Technicolor  film  of  India :  Goodbye. 
Mr.  Chips,  dealing  with  the  ideals  of  a  British  school- 
master, worthy  to  be  the  ideals  of  all  teachers  every- 
where :  Edison  the  Man,  through  whose  genius  Amer- 
ica gave  the  electric  light  to  the  world :  The  Good 
Earth,  the  first  film  to  portray  the  Chinese  in  terms 
of  a  universal  theme,  available  in  16mm.  excerpts 
totaling  an  hour's  running  lime ;  Gunga  Din,  based  on 
Kipling's  glorification  of  the  Hindu  water-carrier : 
The  Life  of  Emile  Zola,  the  first  film  to  touch  the 
theme  of  anti-Semitism ;  Little  Lord  Fauntleroy,  one 
of  the  most  charming  films  available  in  16mm.  and 
dealing  with  an  Anglo-American  theme ;  Marie  Antoi- 
nette, which  like  A  Tale  of  Two  Cities,  both  made  by 
MGM.  tells  the  story  of  the  earth-shaking  French 
Revolution ;  Shakespeare's  A  Midsummer  Night's 
Dream;  The  Mikado,  which  may  remind  us  that  the 
Japs  may  be  viewed  again  some  day  with  a  sense  of 
humor;  Moonlight  Sonata,  with  Paderewski ;  Music 
for  Madame,  presenting  the  Italian  singer,  Nino  Mar- 
tini ;  Mutiny  on  the  Bounty,  New  Wine  { Schubert)  ; 
Nine   Days   a    Queen;    Northwest   Mounted    Police; 

(Concluded  on  page  390) 


i 


December,   1943 


Page   389 


J%aa^P.I.T.  and  VocationalTraining  Films 

antke 


CHALLENGER 


R«g.   U.   S.   Pot.  OH. 


Available  in  Limited  Quantity 

The  latest  War  Production  Boar<l  order  L-267  permits  the 
manufacture  of  a  limited  quantity  of  Da-Lite  Screens  to  be 
sold  only  to  certain  users  including  institutions  with  Pre- 
Inducllon  or  Vocational  Training  courses.  Order  now!  Indicate 
on  your  order  your  end  use  symbol.  A  priority  of  MR0-AA5 
is  sufficient  to  obtain  this  equipment. 


NO    SUBSTITUTE     MATERIALS 


IZucditif  ScnecH^  ^  34  1^e^w<^ 


THE  r/A1f-P/?0VfD 
TRIPOD  SCREEN  tut  o^ 

•  BRIGHTER  PICTURES 

The  Da-Lite  Glass-Beaded  surface  on  "America's 
most  popular  portable  screen"  sharpens  details  and 
brings  out,  with  full  brilliance,  the  true  colors  and 
tone  values  of  films.  The  beads  are  guaranteed  not 
to  shatter  off.    The  fabric  stays  white  and  pliable. 

•  GREATER  CONVENIENCE 

The  Challenger  with  its  exclusive,  patented  features 
was  the  first  screen  with  square  tubing  and  is  the 
only  screen  that  can  be  adjusted  in  height  wilhout 
requiring  separate  adjustments  of  the  case  or  fabric 
to  keep  the  correct  screen  proportions.  The  user 
simpl)  releases  a  spring  latch  and  raises  or  lowers 
the  extension  support  with  one  hand.  The  Chal- 
lenger locks  positively  at  the  desired  height.  (No 
friction  grip  to  slip.) 

•  LONGER  SERVICE 

The  Challenger  is  durably  built  to  stand  many  extra 
years  of  hard  usage.  All  metal  parts  are  of  high- 
grade  steel,  stamped  to  shape  for  maximum  strength 
(no  castings  to  break).  The  Challenger  has  proved 
its  greater  durability  over  a  period  of  16  years  in 
the  service  of  thousands  of  schools,  industrial  plants, 
private  owners  and  all  branches  of  our  Armed 
Forces. 

Ask  your  Da-Lite  visual  education  dealer  for  the  famous 
Challenger  Screen!  12  sizes  from  30"  x  40"  to  70"x94" 
inclusive.  From  S12.50  up.  Prices  slightly  higher  on  the 
Pacific  Coast.  Write  today  for  Da-Lite's  40  page  Screen 
Catalog! 


/        DA  LITE  SCREEN   COMPANY,   INC.  I 
,         D*p«.   I2ES,  2723  No.  Crawford  Av*., 
'        Ckleage  3f,   III.  * 
I              Please  send  your  40  page  FREE   catalo?  | 
I         on    Da-Lite    Screens,    including    the    Chal- 
lenger. I 

'        yame I 

'        Title „ 

School  or  University 

Address 

City Stets 


Page  390 


The  Educational  Screen 


Phwcchio,  a  folklore  classic  of  Italian  literature ;  The 
Plough  and  the  Stars,  about  Ireland ;  Pygmalion. 
about  upper  and  lower  classes  in  England ;  Queen  of 
Destiny  and  Victoria  the  Great,  two  films  on  the  Brit- 
ish Empire ;  The  Real  Glory,  about  the  Philippines ; 
Robin  Hood;  Saludos  Amigos;  A  Christmas  Carol; 
Servant  of  the  People,  which  shows  how  the  conclus- 
ion of  a  successful  war  may  find  the  allied  states  drift- 
ing apart ;  Snow  IVhite,  German  folklore ;  Michael 
Strogoff,  a  tale  of  Russia ;  Stanley  and  Livingstone, 
British-American  characters  in  Africa ;  They  Shall 
Have  Music,  starring  Heifetz,  Russian-born  Jewish 
violinist. 

Motion  pictures  are  destined  to  contribute  powerfully 
to  the  foundations  of  international  security,  which  are 
rooted  in  understanding.  Visual  educators  are  accord- 
ingl}'  preparing  to  do  their  part  in  the  great  task  of 
democratizing  understanding.  One  of  the  chief  tests 
of  success  for  administrators  of  visual  instruction  must, 
therefore,  increasingly  be  a  measure  of  their  ability  to 
provide  for  the  utilization  of  audio-visual  materials, 
whether  in  school  or  out,  for  the  development  of  en- 
during peace  and  prosperity  through  the  cultivation 
of  world  citizenship,  side  by  side  with  local  pride  and 
justifiable  patriotism. 

The  Shape  of  Things  to  Come 

(Concluded  from  page  376) 

animal  forms  and  then  pasting  them  on  the  blackboard 
in  the  appropriate  places  of  an  outlined  geological  time 
table.  The  investment  of  about  thirty  feet  of  film 
portraying  this  activity  brought  its  dividends  in  the 
eagerness  with  which  these  students  approached  the 
other  evidences  of  evolution. 

It  was  for  this  same  class  that  I  had  prepared  an 
allegorical  scenario  to  help  them  better  understand  the 
significance  of  embryological  facts.  Since  this  scenario 
calls  for  animations  it  is  waiting  for  a  biological  Disney 
to  tackle  the  problem. 

A  few  of  the  films  recently  begun  and  waiting  to 
be  completed  may  be  briefly  mentioned  here.  Breeding 
Better  Daylilies,  portraying  the  genetic  problems  in- 
volved in  selection  and  hybridization,  is  one  of  them. 
This  film  was  begun  imder  the  guidance  of  Dr.  Stout, 
geneticist  of  the  N.  Y.  Botanical  Gardens.  The  idea 
behind  the  film  is  to  show  students  that  a  new  desirable 
plant  or  animal  does  not  appear  with  such  ease  as  some 
textbooks  seem  to  imply.  In  line  with  the  problems  of 
heredity  we  have  a  piece  on  common  and  fraternal 
twins  in  Evander  both  in  kodaslides  and  in  motion  pic- 
tures. The  school  and  its  students  are  great  resources 
for  cinematographic  material.  To  show  that  cine- 
micrography  is  not  beyond  the  scope  of  amateurs,  we 
have  a  roll  or  two  on  microscopic  studies  of  cells,  plant 
and  animal,  pollen-tube  formation,  hydra,  etc.  To  take 
the  halo  off  anything  connected  with  the  sanctuary  of 
cinematography,  equipment  is  often  set  up,  explanations 
made,  and  pictures  shot  during  class  periods.  There 
is  no  better  incentive  to  get  students  to  join  the  school's 
motion  picture  club. 

The  reader  may  well  ask,  "Now  that  you've  made  a 
film,  what  do  you  do  with  it?".  The  answer  is  that 
a  properly  planned  film  is  one  that  can  be  worn  out  by 


use  rather  than  by  drought  in  a  forgotten  cubby  holt'. 
Films  of  even  fifty  to  a  hundred  feet,  provided  that 
they  add  some  pertinent  information  to  a  lesson,  are 
worth  the  investment.  As  for  our  own  film-making, 
we  were  satisfied  that  other  teachers  of  our  depart- 
ment thought  enough  of  them  that  they  too  wanted  to 
use  them  in  their  classes.  We  never  dreamed  of  cir- 
culating our  films  outside  of  our  own  school.  Others 
became  aware  of  our  work  and  were  anxious  to  see 
our  creations.  The  fact  that  a  school-made  film  may 
appeal  to  outsiders  is  in  itself  a  challenge  to  directors 
and  distributors  of  visual  aids  to  plan  for  better  ways 
and  means  of  circulation.  Most  schools  make  just  one 
edition,  the  original,  rever.sal  film.  We  barely  get 
enough  funds  from  our  school  board  General  Organiza- 
tion to  make  one  or  two  usable  subjects  per  year. 
Luckily  the  Film  Steering  Committee  saved  the  life  of 
our  Chick  film  by  making  the  dupes  before  the  original 
was  worn  thin.  As  for  They  All  Go  to  Evander  we 
had  to  turn  down  most  requests  for  its  use  outside  of 
our  own  school. 

With  the  many  excellent  films  produced  by  various 
high  schools  throughout  the  country,  and  with  the 
many  more  improved  films  to  come  from  these  and 
other  schools  it  is  not  too  early  to  plan  now  for  the 
wider  circulation  that  these  films  will  merit.  To  ex- 
pedite this  matter  I  would  like  to  suggest  some  ap- 
proaches to  this  problem. 

1.  Local,  state  and  national  staffs  of  visual  educa- 
tion experts,  attached  to  Education  Departments, 
to  make  inventories  of  schools  producing  their 
own  visual  aids. 

2.  These  staffs  be  empowered  to  review  school-made 
films  just  as  they  review  the  commercial  products. 

3.  By  reimbursing  the  producing  schools,  these  staffs 
be  permitted  to  make  additional  prints  of  any 
worthwhile  educational  films  for  the  larger  audi- 
ences they  deserve. 

4.  From  time  to  time  these  staffs  should  receive  and 
offer  suggestions  for  film  subjects  needed  most, 
and  assign  producing  schools  situated  in  those 
geographical  areas  which  best  contain  the  in- 
digenous cinematographic  material. 

5.  This  may  sound  like  an  extremely  radical  step, 
but  I  offer  it  for  the  benefit  of  schools  that  lack 
the  proper  equipment  for  producing  their  own 
pictures.  I  would  have  the  .State  or  National 
Director  of  Visual  Education  build  an  archive  or 
film  library  of  subjects  varying  in  length  from 
ten  feet  upwards.  Master  negatives  or  positive 
prints  of  these  subjects  could  be  sold  to  schools 
at  a  slight  profit  to  keep  those  libraries  up  to 
date.  Schools  submitting  a  scenario  could  be 
informed  of  the  shots  already  available,  and  a 
production  unit  of  the  V'isual  Education  Staff 
could  provide  the  missing  shots.  Through  this 
method  creative  visual  education  would  make 
greater  strides  in  one  year  than  in  one  decade  of 
the  past. 

Yes,  the  shape  of  Visual  Education  is  moving  out  of 
the  shadows,  and  in  the  full  light  it  is  cheerful  to 
behold. 


December,   1943 


Page  391 


Ji//  that . .  .for  breakfast  i' " 


ASKS  A  YOUNG  MODERN, 
AGED  10 


presenting 
unusual  mo- 
tion picture  to  the 
nation's  school  children,  it  was  hoped  to  do  two 
things:  to  test  the  efficacy  of  a  new  cinematic 
technique;  and  to  vitalize  an  almost  forgotjien  era 
so  that  it  becomes  both  meaningful  and  enjoyable. 
It  now  appears  that  the  technique  is  sound,  the 
vitalization  successful.  Here  are  a  few  comments: 

"It  is  the  finest  thing  I  have  yet  seen  in  Kodachrome 
and  sets  a  high  standard,  in  my  opinion,  for  ail  of  us  in 
the  documentary  field.  . . .  The  major  emphasis  on  life 
rather  than  architecture  thrilled  me. ...  I  hope  it  gets 
to  every  school  in  America." 

J u LIEN  Bryan, 

lecturer  and  film  documentarian 

"...  an  excellent  example  of  how  film  technique  can  be 
used  for  educational  purposes  .  .  .  creates  dramatically 
and  graphically  the  life  and  character  of  a  past  era." 

John  E.  Abbott, 

Director,  The  Museum  of  Modern  Art 

"I  think  that  the  film  is  the  best  presentation  of  the  his- 
torical past  that  I  have  ever  seen  in  a  movie.  It  will  be  a 
godsend  to  the  schools." 

"  Arthur  L.  Gale, 

Editor,  "Movie  Makers" 


"...  an  interesting  and  valuable  document  of  great 
educational  importance." 

Francis  Henry  Taylor, 

Director,  The  Metropolitan  Museum  of  Art 

Produced  in  co-operation  with  Colonial  Williams- 
burg, this  motion  picture  tells  the  straightforward, 
undramatized  story  of  a  typical  day  in  a  center  of 
American  life  two  centuries  ago.  It  is  authentic, 
but  not  pedantic. 

"Eighteenth  Century  Life  in  Williamsburg,  Vir- 
ginia," is  a  four-reel  (44-minute)  i6-mm.  sound 
Kodachrome  film.  It  is  offered  to  educational  in- 
stitutions, which  are  suitably  equipped  for  its  pro- 
jection, without  charge  for  single  showings.  Bor- 
rowers are  obligated  only  to  give  the  film  proper 
care  and  to  return  it  promptly. 

A  considerable  demand  for  the  film  is  already  in- 
dicated. It  is,  accordingly,  suggested  that  you 
allow  a  reasonable  time  for  arranging  your  booking. 

In  case  permanent  possession  of  the  film  is  de- 
sired, it  may  be  purchased  as  an  Eastman  Class- 
room Film.  Price,  complete,  $240.  Unit  I  (Reels  i 
and  2),  |i2o;  Units  II  and  III,  $60  each. 

For  an  illustrated  folder  describing  the  film,  or 
for  bookings,  write  to  Eastman  Kodak  Company, 
Informational  Films  Division,  Rochester  4,  N.  Y. 


Page   392 


The  Educational  Screen 


SCHOOL  MADE  MOTION  PICTURES 


HARDY     R.    FINCH.    Editor 

Head  of  the  English  Department 
Greenwich  High  School,  Greenwich,  Conn. 

Biology  High  School  Class  Produces 
Teaching  Film 

A  SCIENCE  class  offers  many  opportunities  for 
the  making  of  an  interesting  filni.  The  stud- 
ents of  Girls'  High  School.  Brooklyn.  New  York, 
under  the  direction  of  Mrs.  Kegina  Reiner-Deutsch. 
found  a  very  interesting  film  subject  in  their  biology 
class  and  developed  it.  Mrs.  Reiner-Deutsch's  ac- 
count, forwarded  to  your  editor  by  .A.gnes  H.  Bennett, 
chairman  of  biology  at  Girls'  High  School,  follows : 

AN  honor  class  in  biology  should  do  some  original 
work,  but  as  we  were  in  a  very  small  annex  with- 
out a  laboratory  room  or  laboratory  assistant,  and 
without  much  material,  we  were  greatly  limited  in 
our  opportunities.  We,  therefore,  enthusiastically 
accepted  the  proffered  loan  of  a  16mm  moving  picture 
camera  from  an  art  teacher  in  our  building  and  decided 
to  work  on  something  not  represented  in  our  depart- 
ment's film  library.  The  class,  after  some  discussion, 
selected  "Response"  from  a  group  of  such  topics. 

"We  were  already  much  interested  in  our  aquarium 
of  tropical  fish  on  which  most  of  the  class  had  done 
outside  readings ;  so  we  decided  to  use  it  in  our  pic- 
ture. It  was  to  serve  as  motivation  for  our  studv 
of  reaction  in  living  things ;  therefore  the  first  scene 
taken  showed  the  class  grouped  around  the  tank,  ob- 
serving fish  behavior,  then  making  notes  and  formula- 
tion questions  based  on  their  observations.  Such  a 
question  was  embodied  in  a  title  serving  to  introduce 
the  more  elementary  part  of  the  work.  This  title  and 
the  others  also,  were,  however,  photographed  later. 

"We  went  on  to  picture  some  of  the  simplest  reac- 
tions of  plants  and  animals.  The  best  sort  of  teaching 
film,  which  we  hoped  this  would  be,  should,  of  course, 
stimulate  thought  in  an  audience  and  show  material 
not  available  in  the  ordinary  classroom,  but  this  lat- 
ter was  simply  impossible  becau.se  of  our  limitations. 
We  u.sed  snails  and  mimosa  or  "sensitive  plant"  re- 
sponding to  touch.  We  took  shots  of  a  growing  po- 
tato plant  beginning  to  sprout  and,  finally,  climbing 
past  all  obstacles  to  the  light.  Similar  views  of  sprout- 
ing seedings  in  "packet  gardens"  were  taken  to  illus- 
trate reactions  to  moisture  and  to  gravity.  We  photo- 
graphed students  holding  long  "glass  chimney"  tubes 
full  of  fruit  flies  to  show  reactions  to  gravity  and  to 
light. 

"From  these  studies  of  tropisms  we  advanced  to 
work  on  reflexes.  We  introduced  this  by  a  shot  of  a 
student  showing  the  class  a  chart  containing  the  clas- 
sic reflex  arc  diagram  and  the  sections  of  the  spinal 
cord  and  its  connections.  We  tried  here  to  intro- 
duce a  little  fun  into  our  film  by  showing  students 
shivering  and  stamping.  Then  when  they  inadvertently 
leaned  against  a  radiator,  the  consequent  effect  was 
■evident. 


IVitli  a  question  box  on  the  making  of 
school  film  productions,  conducted  bj- 

DONALD  A.  ELDRIDGE, 
Wesleyan  University,  Middletown,  Conn. 


"Trying  out  the  'pupil  reflex'  involved  a  group 
looking  at  a  victim's  e}e  before  and  after  shining  a  flash- 
light into  it.  \N'hen  we  later  .saw  how  inconclusive 
was  this  effect,  we  spliced  in  a  makeshift  'moving  dia- 
gram' made  by  successive  views  of  student-made 
charts  of  the  eye,  each  one  with  a  slightly  smaller  pupil. 
We  also  used  a  group  trying  out  the  knee-jerk  reflex 
on  each  other.  One  student  surprised  a  girl  absorbed 
in  her  notes  by  creeping  up  on  her  and  sticking  a  pin 
into  her  arm.  After  the  victim's  violent  jerk,  the  ex- 
perimenter suddenly  jwked  a  pencil  toward  her  eye. 
The  sudden  closing  of  her  eyelid  was  eloquent  testi- 
mony that  she  really  hadn't  expected  any  of  this. 

"Last  we  went  back  to  the  fish  tank,  where  we  de- 
cided that  the  swimming  of  fish  to  the  top  at  our  ap- 
proach to  the  tank  was  a  conditioned  reflex,  in  which 
sight  or  sound  was  the  substitute  stimulus,  the  original 
one  having  been  the  presence  of  food.  The  group  re- 
turned to  seats  and  wrote  busily.  The  last  shot  was 
over  a  student's  shoulder  as  she  wrote  'The  End'." 

As  this  was  the  first  such  project  in  our  school,  we 
were  beset  by  the  fear  of  high  costs,  so  were  most  mis- 
erly in  the  use  of  film,  the  most  expensive  single  item 
in  our  budget.  We  therefore  used  only  three  rolls  of 
film  and  discarded  just  the  most  hopeless  parts.  As 
we  had  no  titler,  we  experimented  with  available  mate- 
rials. Chalk  on  the  blackboard  was  first  tried.  When 
our  first  roll  came  back,  the  two  titles  we  had  tried 
were  unreadable,  in  spite  of  the  greatest  illumination 
we  could  muster,  three  photofloods  in  reflectors. 
We  reluctantly  gave  up  this  method  and  fell  back  on 
the  use  of  black  crayon  and  9"  x  12"  stiff  white  paper. 

"These  titles  required  slow  pressure  on  the  crajon 
so  we  gave  up  the  idea  of  photographing  them  during 
their  making  and  used  them  finished  with  the  student's 
hand,  in  some  cases,  apparently  making  the  last  stroke. 
We  laid  them  between  lines  ruled  on  the  floor  and 
swung  our  camera  on  its  tripod  to  face  down.  Then 
a  student  lay  down  under  it  to  hold  the  paper  in  place, 
and  after  shooting  a  few  titles,  we  all  needed  a  good 
rest.  Our  heavy  camera  had  a  tendency  to  inch  from 
its  proper  position  which,  oddly  enough,  once  did  bring 
into  better  view  a  overly  long  title.  How  we  laughed 
when  we  saw  this  fortuitous  improvement  in  the  fin- 
ished film ! 

"It  is  needless  to  describe  the  first  roll  after  pro- 
cessing. It  sent  us  on  to  the  next  with  extra  zestj 
much  needed,  as  we  had  to  repeat  some  unsuccessful 
parts.  When  told  we  could  buy  a  third  roll,  it  seemed 
as  if  we  couldn't  limit  ourselves  that  much,  so  many 
ideas  popped  up  for  additional  titles.  Indeed,  when 
we  had  used  up  every  bit  of  the  last  roll,  it  wasn't  as 
clear  as   desirable,   but  as   the   picture   seemed   worth 

(Concluded  on  page  394) 


December,   194} 


Page   393 


BUY   MORE  WAR   BONDS 


Tomorrow— the  World 


THE  boys  and  girls  who  are  in  our  schools  today  face  the 
responsibility  of  conquering  tomorrow's  world . . .  not 
with  force  but  with  the  inielligencet  utiderstanding  and  good-will 
developed  through  our  great  American  system  of  free  education. 
It's  a  heavy  responsibility  for  these  future  citizens  and 
for  our  American  schools,  too.  But  the  schools  are  doing  a 
splendid  job  in  spite  of  wartime  shortages  of  personnel  and 
equipment... in  spite  of  the  many  impacts  of  war  which 
make  school  management  and  even  teaching  itself  difficult. 


But  today's  increased  problems  have  not  kept  progressive 
school  administrators  and  teachers  from  planning  tomor- 
row's post-war  improvements.  All  over  the  nation  they  are 
planning  new  buildings,  renovations,  new  equipment.,. 
and  they  are  showing  special  interest  in  the  improved 
teaching  tools  being  developed  by  RCA  which  will  be 
available  when  peacetime  production  is  resumed. 
TUNE  IN  "WHAT'S  NIW?"  RCA*s  great  new  show,  Saturday 
nights,  7  to  8,  E.W.T,,  Blue  Network. 


Good  schools  will  need  better  equipment  for  best  teaching  results 


VICTOR  Records  for  Schools.  Already 
■  II  <^tablish('d  as  an  extremely  useful 
-K-hing  tool,  Victor  records  are  grow- 
ls nn  »re  and  more  popular  in  classroom 
Anrk   Thousands  of  records  are  avait- 
uhle  to  help  teachers  in  music,  speech, 
trama,  foreign  languaees,  history, 
!iterature  and   many  other  subjects. 


RCA  Tubes  and  Tube  Information.  K<'A  Tubes  are  the  very  brain  of  K.C.\  electronic 
equipment  for  si'hools,  including  radios,  sound  systems,  television,  phonographs, 
recording  equipment  and  test  equipment . . .  dependable  beyond  question.  Expertly 
engineered  by  men  to  whom  "electronics"  was  a  by-word  more  tnan  a  decade  ago, 
RCA  Tubes  are  produced  by  modern  quantity  methods  which  assure  high  quality 
at  low  cost.  RCA  Tube  Information  includes  new  tube  announcements,  manuals, 
bulletins,  handbooks  and  other  literature  of  special  interest  to  teachers  and  students 
in  which  electronic  principle*  are  presented  and  electronic  equipment  explained. 


RCA  ISmrn  Sound  Projection  for  Schools. 

Since  all  R<'A  production  of  16mm 
sound  projectors  is  being  absorbed  by 
the  armed  forces  today,  there  are  no 
new  RCA  projectors  available.  But 
thousands  now  in  use  continue  to  prove 
rugged  endurance,  ease  of  operation  and 
fine  projection  of  both  image  and  sound. 


» 


RCA  Victor  Division — Educational  Deportment 

RADIO  CORPORATION  OF  AMERICA 

Camden,  N.  J. 


I 


I 


The  Educational  Dept.,  RCA  Victor  Division 
Radio  Corporation  of  America,  Camden,  N.  J. 

Gentlemen:  Please  send  me  a  copy  of  your  new 
book  "Planning  Tomorrow's  Schools."  Thank  you. 


j      Name.. 

I 

I 


School  and  Title.. 
City 


..State.. 


Page   394 


The  Educational  Screen 


AUDIOFILM  STUDIO 


PRIZE  MOVIE-IDEA  CONTEST 

you  may  win       $50*^^  JUblklty 

For  the  Film  Outline  se/ecfed  by  our  Production  Staff 
A  K|Y      mefnber  of  the  teaching  profession  may 
enter  their  outline  for  a  movie  to  be  pro- 
duced  by  Audiofilm   Studio  for  school   showing 
CM D  I  C^T      curricular  or  non-curricular  in  sub- 
I       stance.   It  will  be  judged  on  wide 
appeal,  long  term  value,  originality  and  production 
feasibility. 

Rules: 

■  Give   a   DETAILED   OUTLINE  of  a   mov!e  you  would   like 

most  to  see  made  for  the  school  screen.    It  may  become  a 

reality. 

B  Only  one  will  be  selected  from  this  contest.   You  may  send 

more  than  one  idea. 

Address;  1614  Washinqton  Street 
Vancouver,  Washington 


NEW     1944     CATALOG 

Now  Ready! 

Thousands  of  16mm  Sound  Films. 

Send    postcard    for    your    copy. 

SWANK    MOTION    PICTURES 

614   No.    Skinker  St.    Louis   5.    Mo. 


using    by   the    dejiartment,    some   professionally    made 
titles  were  ordered  and  inserted. 

"The  filming  was  planned  by  the  class  during  study 
of  the  topic  and  filmed  mostly  in  class  time  when,  at 
the  end  of  each  week,  we  decided  we  were  up  to 
schedule  and  could  spare  the  time.  Cutting  and  splic- 
ing came  much  later  and  in  fact,  were  finished  during 
the  last  days  of  the  term.  At  the  end,  the  class  mem- 
bers were  called  together  to  view  with  pride  their 
breaking  into  the  movies." 

QUESTION  BOX  ON  SCHOOL  FILM  PRODUCTION 

Question:  What  is  the  cost  of  adding  sound 
to  16mm  film?  What  is  the  recommended  proced- 
ure? Can  a  sound  track  be  added  to  film  originally 
photographed  with  titles  for  use  as  a  silent  motion 
picture?  Is  this  a  feasible  undertaking  under  to- 
day's circumstances? 

Answer:  Two  questions  concerning  the  production  of  sound 
films  have  appeared  here  before,  relative  to  the  cost  and  the 
transfer  of  music  and  commentary  from  discs  to  films.  These 
were  answered  by  Godfrey  Elliott  in  the  December,  1941  and 
February,    1942,    issues,    respectively. 

Mr.  Elliott  pointed  out  that  the  cost  might  range  from  $65 
to  $700  per  reel,  but  that  "recording  of  a  fairly  good  quality 
can  be  obtained  for  $75 — $150  per  reel,  including  the  final 
combined  print."  Since  that  time,  the  present  writer  has  had 
some  experience  in  producing  a  one  reel  16mm.  sound  film. 
The  itemized  summary  of  expenses  involved  may  be  helpful 
here  for  although  the  work  referred  to  was  completed  early 
in   1942,  costs  today  are  about  the  same : 

( 1 )   For  Making  Silent  Picture  Negative  : 

Film     $89.07 

Laboratory  fees — special  effects   15.67 

Printing  of  titles   10.00 

Miscellaneous    5.80 

Total     $120.54 


(2)  For  Adding  Sound  and  Making  Print: 
Use  of  studio  facilities  for 

recording  sound  track   $50.00 

1  roll  3Smm  sound  recording  stock 11.00 

1    16"   acetate  playback   record 

(test   recording)     2.00 

Developing  35mm.  sound  track, 

992  feet  at  .015c   14.88 

Synchronization  test,   140  feet  at  .045c 6.30 

1    16mm.   fine  grain  dupe  negative, 

337  feet  at  .06c .20.22 

1  16mm.  combined  reduction  fine  grain  print 

from    16mm.    picture   negative    and    35mm. 

sound  track,  390  feet  at  .045c 17.55 

Total  $121.95 

(3)  Complete     cost     $242.49 

The  technical  quality  of  this  film  is  very  good.  It  will  be 
noted  that  there  is  no  item  for  "narrator"  since  a  non-profes- 
sional (the  writer)  took  care  of  this.  It  is  freely  admitted  that 
the  voice  quality  would  have  been  better  if  a  professional  had 
been  engaged,  but  for  the  purpose  of  most  school  films,  there  is 
some  question  as  to  whether  the  results  would  justify  the  in- 
creased cost,  assuming  that  a  reasonably  good  voice  and  diction 
are  otherwise  available — a  question  each  producer  must  decide 
for  himself.  Inquiries  as  to  narrator's  fees  should  be  made 
directly  to  the  studio  with  whom  business  is  to  be  done. 
(Names  of  studios  will  be  furnished     on  request.) 

For  suggestions  on  procedure,  we  repeat  reference  to  an 
article  by  Godfrey  Elliott  in  Home  Movies  for  September,  1941. 
The  problem  is  also  discussed,  though  briefly,  in  Producing 
School  Movies,  by  Child  and  Finch.  The  Bureau  of  Edu- 
cational Research  of  the  Ohio  State  University  has  sponsored 
some  conferences  on  the  production  of  school  films,  for  which 
the  Proceedings  are  available.  .\  brief  account  of  the  pro- 
duction of  The  Children,  the  film  whose  costs  are  analyzed 
above,  appear  in  the  June,  1942,  issue  of  The  Nezv  Haven 
(Connecticut)  Teachers  Journal,  containing  an  explanation 
of  the  use  of  a  special  recording  of  introductory  and  closing 
music  by  the  local  high  school  orchestra,  which  was  transferred 
to  the  film  sound  track  when  the  commentary  was  recorded. 
The  commentary  itself  was  directly  recorded  at  the  studio.  In 
fact,  in  any  film  where  the  narration  must  be  cued  to  the  pic- 
ture, direct  recording  is  essential ;  at  least,  we  know  of  no  case 
where  an  attempt  to  transfer  the  narration  to  the  film  through 
the  intermediary  device  of  a  disc  recording  has  been  successful ; 
we  have  seen  some  in  which  the  attempt  to  do  so  failed.  Where 
precise  timing  is  not  important,  however,  the  use  of  discs  might 
be  satisfactory,  although  there  is  certain  to  be  some  loss  in 
tonal  quality.  If  you  are  within  reasonable  range  of  a  good 
studio,  by  all  means  go  to  the  laboratory. 

A  sound  track  can  be  added  to  any  film,  but  since  in  pro- 
jection sound  film  runs  at  24  frames-per-second,  action  photo- 
graphed at  the  silent  rate  of  16  frames-per-second  will  be  accel- 
erated to  a  degree  which  would  destroy  the  value  of  most  types 
of  action  scenes.  In  some  special  instances  this  might  not  be 
significant.  An  obvious  way  to  check  this  would  be  to  run  off 
the  silent  film  under  consideration  in  a  sound  projector  at  24 
frames-per-second.  You  mention  titles,  and  this  suggests  some 
possible  re-editing,  at  least  to  the  point  of  deleting  most,  pre- 
ferably all,  of  the  expository  titles,  for  the  commentary  should 
supplant   the    written   word. 

Many  laboratories  have  been  swamped  with  work  connected 
with  various  wartime  programs,  but  at  present  the  pressure 
on  some  of  them  appears  to  be  lessening,  as  is  demand  on  raw 
film  stock.  The  question  of  feasibility  depends  upon  these  two 
factors.  If  your  studio  can  take  care  of  you,  there  is  no  reason 
for  not  going  ahead  with  your  plans,  but  check  with  the  lab- 
oratory first,  and  make  an  appointment  for  the  recording  as 
far  in  advance  as  possible.  Allow  plenty  of  time  for  rehearsing 
the  narration  and  musical  background  before  appearing  to  make 
the  recording,  for  "cueing  in"  a  sound  track  is  a  most  exacting 
undertaking. 


December,   194i 


Page  395 


! 


Big  Major  Pictures 


Now  available  in  16mm  WITHOUT   CONTRACT  APPROVAL 


CHEERS  FOR  MISS  BISHOP 

(Martha  Scott,  William  Gargaii.)  The  dramatic,  inspiring 
life  story  of  a  school  teacher,  from  the  time  she  took  over  her 
first   class  to  retirement. 

ADVENTURES  OF  TOM  SAWYER 

(Tommy  Kf-lly,  Jackie  Moran.  Mprcia  Mae  Jones. I  The  film 
version  of  Mark  Twain's  greatest  book. 

FOREIGN  CORRESPONDENT 

(Joel  .McCrae.)  Produced  by  Alfred  Hitchcock.  Heroism, 
danger,  mighty  adventure — a  giant  airliner  hurricaning  into 
the  sea,  like  some  mammoth  bird — a  few  of  the  many  thrills. 


PRISONER  OF  ZENDA 

(Ronald  Colman,  Madeleine  Carroll,  Douglas  Fairbanks,  Jr.) 
Anthony  Hope's  famous  novel,  dramatized  by  Edward  Rose 
comes  to  life  on  the  screen. 

WINTER  CARNIVAL 

(Ann  Sheridan,  Richard  Carlson.)  An  invitation  to  adventure 
and  romance  on  top  of  the  world — at  Dartsmouth  Winter 
Carnival,  world-famous  Festival  of  Fun. 

UTTLE  LORD  FAUNTLEROY 

(Freddie  Bartholemew,  Dolores  Costello.)  Frances  Hodgson 
Burnett's  famous  classic  about  the  American  boy  who  became 
an  English  Earl. 


—  ANNOUNCEMENT  EXTRAORDINARY  — 

We  oflfer  the  following  all-star  MAJOR  PRODUCTIONS  in  NATURAL  COLOR: 


A  STAR  IS  BORN 

(Fredric  March,  Janet  Gaynor,  Adolphe  Menjou,  .\ndy  Devine.) 
Directed  by  William  Wellman.  A  David  O.  Selznick  Production. 

MADE  FOR  EACH  OTHER 

(Carole  Lombard,  James  Stewart,  Charles  Coburn.)  Directed 
by  John  Cromwell.  Story  by  Jo  Swerling.  A  David  O.  Selz- 
nick Production. 


BECKY  SHARP 

(Miriam  Hopkins,  Sir  Cedric  Hardwicke,  Billie  Burke  and 
Nigel  Bruce.)  Directed  by  Rouben  Mamoulian.  A  Merian  C. 
Cooper  Production. 

DANCING  PIRATE 

(Frank  Morgan,  Charles  Collins.)  Directed  by  Lloyd  Carrigan. 
A  Merian  C.  Cooper  Production. 


for  rental  rales  address  nearest  office: 


IDEAL  PICTURES  CORPORATION 


28  E.  Eighth  St.  Reliance  BIdg..  926  McGee  St.  2408  W.  7th  St. 

Chicago,  III.  Kansas  City,  Kansas  Los  Angeles,  Col. 

IBS.  Third  St.  1739  Oneida  St.  91 5  South  West  1 0th  St. 

Memphis,  Tenn.  Denver,  Colo.  Portland  5,  Oregon 

ond  Bertram  Willoughby  Pictures,  Inc.,  Suite  600,  1600  Broadway,  New  York,  N.  Y. 


89  Cone  St..  N.W. 
Atlanta,  Georgia 

9536  N.  E.  2nd  Ave. 
Miami.  Florida 


2024  Main  St. 
Dallas,  Texas 

210  E.  Franklin 
Richmond,  Va. 


Page   396 


The  Educational  Screen 


Erpi  Classroom  Films  Purchased  by  University  of  Chicago 


Acquisition  of  Erpi  Classroom  Films  Inc.  from 
Western  Electric  Company  by  Encyclopaedia  Britan- 
nica  Inc.  was  annoimced  November  29th  by  William 
Benton,  chairman  of  the  board  of  Britannica,  and  vice- 
president  of  the  University  of  Chicago,  to  which 
the  175-year  old  publishing  organization  was  given 
last  January  by  Sears  Roebuck  &  Co. 

Ownership  of  Erpi  Classroom  Films  Inc.  brings  into 
the  Britannica  organization  the  world's  largest  pro- 
ducer and  distributor  of  instructional  sound  films.  In- 
cluded in  the  transfer  are  the  negatives  and  prints  of 
Erpi's  complete  production  of  over  200  educational 
subjects  in  sixteen  fields  of  knowledge. 

The  policy  and  personnel  of  Erpi  Films,  of  which 
E.  E.  Shumaker  is  president,  are  expected  to  continue 
unchanged  under  Britannica's  ownership,  Mr.  Benton 
said.  Selling  policies  will  remain  as  in  the  past,  with 
sales  of  the  classroom  films  being  handled  through 
the  sales  organization  under  the  direction  of  H.  C. 
Grubbs,  vice-president. 

"The  management  and  personnel  of  Erpi  Classroom 
Films  are  very  happy  to  become  identified  with  the 
Encyclopaedia  Britannica  and  the  University  of  Chi- 
cago, for  we  feel  this  association  will  enable  us  to 
make  an  even  greater  contribution  to  education  than  in 
the  past,"  Mr.  Shumaker  said  yesterday  . 

In  announcing  the  acquisition  of  Erpi  Films,  Mr. 
Benton  said :  "Last  January,  when  Sears  Roebuck  & 
Company  made  the  gift  of  Encyclopaedia  Britannica 
Inc.,  the  University  welcomed  it  not  only  because  of 
the  world-wide  importance  of  the  Encyclopaedia 
Britannica  itself,  but  also  because  the  Britannica  or- 
ganization offered  facilities  for  extending  the  Univer- 
sity's educational  ventures  in  other  fields. 

"The  purchase  of  Erpi  Films  is  a  natural  and  logical 
phase  of  this  extension  of  Britannica  as  an  educational 
organization  allied  to  the  University.  The  University 
recognized  the  importance  of  educational  sound  films 
in   1932  by  entering  into  a  contract  with  Erpi  Films, 


and  approximately  forty  films  have  since  been  made  in 
collaboration  with  members  of  the  faculty.  This  new 
relationship  will  enable  the  University  to  use  its  re- 
sources and  knowledge  to  develop  an  educational  tool 
which  expands  the  range  of  material  available  to  the 
teacher  as  no  other  device  can  do." 

Sale  of  Erpi  Films  to  Britannica  is  in  accord  with 
Bell  System  policy,  C.  G.  Stoll,  president  of  the  West- 
ern Electric  Company,  of  which  Erpi  Films  has  been 
a  subsidiary,  said  yesterday. 

"Erpi  Classroom  Films,"  he  said,  "was  organized  in 
1929  for  the  purpose  of  developing  the  utility  as  a 
media  in  educational  processes  of  the  new  form  of 
communication,  the  sound  motion  picture,  which  had 
been  perfected  in'  the  Bell  Telephone  Laboratories  and 
successfully  employed  on  a  large  scale  by  the  enter- 
tainment industry. 

"In  the  intervening  years  the  Company  has  carried 
forward  the  development  of  techniques  for  making  and 
using  sound  pictures  as  an  aid  to  education  and  has 
accumulated  a  large  library  of  films  for  classroom  in- 
struction which  are  now  in  wide  use. 

"The  effectiveness  of  the  new  media  having  Ijeen 
successfully  demonstrated,  it  now  becomes  possible  for 
the  ^Vestern  Electric  Company  to  carry  out  its  original 
intention  of  transferring  this  activity  to  an  institution 
closely  identified  with  the  educational  field.  This  has 
been  accomplished  through  the  sale  of  Erpi  Classroom 
Films  to  the  Encyclopaedia  Britannica,  which,  through 
its  affiliation  with  the  University  of  Chicago,  will  make 
possible  the  full  development  of  the  activity  under  ideal 
educational  auspices." 

The  board  of  directors  for  Erpi  Classroom  Films 
Inc.,  will  be  the  board  of  Encyclopaedia  Britannica  Inc. 
with  the  addition  of  Mr.  Shumaker,  who  also  will  go 
on  the  board  of  Encyclopaedia  Britannica  Inc.  The 
two  boards  will  consist  of  Mr.  Benton,  chairman.  E.  H. 
Powell,  president  of  Britannica.  Robert  M.  Hutchins. 
Paul  G.  Hoffman.  Henry  Luce.  M.  Lincoln  Schuster. 
Mr.  Shumaker.  and  John  Stuart. 


New  WPB  Regulation  Permits  School  Purchase  oi  Projection  Equipment  Without  Priority 


Educational  institutions  can  now  purchase  photo- 
graphic and  projection  equipment  and  accessories  with- 
out a  priority  rating,  under  the  new  WPB  Regula- 
tion Order  L-267.  The  current  ruling  requires  schools 
to  observe  the  following  simple  procedure,  in  order  to 
obtain  such  equipment : 

1.  Obtain  copies  of  the  application  (WPB-1319) 
and  the  instructions  (WPB-1319.28  )from  the  local 
WPB  office.  (Manufacturers  and  dealers  in  photo- 
graphic and  projection  equipment  will  also  supply 
copies  on  re(|uest). 

2.  Fill  out  the  application  in  triplicate,  following 
very  carefully  the  specific  instructions  which  are  given 
on  the  Instruction  sheet. 

3.  Mail  three  copies  of  the  application,  WPB  Form 
1319.  properly  filled  out  and  signed,  to  the  War  Pro- 
duction Board,  Consumer  Durable  Goods  Division, 
Reference  L-267,  Washington  25,  D.  C. 


4.  WPB  will  return  one  copy  of  the  application 
with  its  approval  or  rejection.  If  approved,  the  applica- 
tion will  contain  a  WPB  authorization  number.  This 
WPB  number  should  be  placed  on  the  applicant's  or- 
der to  a  dealer  or  manufacturer  and  constitutes  WPB 
authorization  of  sale  of  the  equipment. 

The  ^^■ar  Production  Board  states  that  it  will  be 
the  general  policy  of  the  Board  to  confine  its  approval 
of  applications  to  the  following :  Federal  war  programs, 
war  production  or  war  research  purposes,  educational 
institutions,  hospitals,  physicians,  medical  technicians, 
printing  and  publishing  industries,  law  enforcement 
agencies,  and  state  and  local  governments.  It  is  also 
possible  that  Washington  will  give  some  consideration 
to  churches  and  religious  institutions.  On  orders  for 
the  Armed  Forces,  however,  priority  ratings  remain 
the  same  and  should  be  passed  on  as  heretofore. 


December,   194} 


Page   397 


Particularly  timely .  • . 


Crowded  living  conditions  breed  dirt,  diteoto,  and  crime 


99 


an  Eastman  Sound  Film 


EASTMAN  announces  a  new  motion  picture  sur- 
vey of  the  work  of  public  health  organizations 
...  an  appraisal  of  their  vital  importance  to  the  com- 
munity in  wartime. 

The  opening  sequence  illustrates  the  hazards  to 
public  health  which  exist  in  crowded  industrial  cen- 
ters. Succeeding  scenes  show  the  importance  of  the 
public  health  laboratory  and  the  trained  scientist. 
A  detailed  picture  of  the  examination  of  milk  for 
bacteria  graphically  demonstrates  the  value  of  their 
contributions.  Other  phases  of  the  work  included 
are  the  taking  of  milk  and  water  samples,  inspecting 
meat,  public  health  clinics,  and  the  isolation  of  com- 
municable diseases. 

The  closing  sequence  presents  a  community  in 
which  efficient  public  health  service  insures  careful 
selection  and  proper  handling  of  food,  healthful 
living  conditions,  happy  home  life,  and  supervised 
playgrounds.  1  reel,  16-millimeter,  sound — $36. 


Ear,  eye,  nose,  and  throal  clinics  are  supported  by 
Ihe   Boards  of  Health  of  numerous  communities 


A  laboratory  technician  using  the  microscope— on 
important  diagnostic  tool  in  public  health  lervico 


Write  Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N.  Y. 

Eastman  Classroom  Films 


Page   398 


The  Educational  Screen 


EDUCATION 

OR 

ENTERTAINMENT 

. . .  ffie  y'lsual  Way  is  the  Best  Way 

Whether  it's  world  affairs  or  home 
affairs  .  .  .  fhe  war  fronf  or  the  political  front 
.  .  .  the  thrills  of  your  favorite  sport  in  or  out 
of  season  .  .  .  travel  in  America  or  the  four 
corners  of  the  earth  ...  or  Hollywood's  greatest 
stars  in  their  greatest  pictures  .  .  .  the  motion 
picture  is  the  great  medium  of  expression! 

Here  are  some  of  the  outstanding  dramatic, 
musical  and  comedy  successes  pronounced  by 
leading  motion  picture  critics  as 

"Pictures  You  Must  Not  Miss" 


ABBOTT  &  COSTELLO 

DEANNA  DURBIN 

.  .  .  the  comedy  team  voted 
America's  number  one  funny 
men  in 

WHO  DONE  IT 
IT  AINT  HAY 
HIT  THE  ICE 

.   .   .   great   singing    star  in 

THE  AMAZING 
MRS.  HOLLIDAY 

HERS  TO  HOLD 

• 

• 
DONALD  O'CONNOR 

the  people's  own  young  fa- 
vorite in 

MISTER  BIG 
IT  COMES  UP  LOVE 

• 

WHEN  JOHNNY  COMES 
MARCHING  HOME 

with    Allan   Jones,    Phil 
Spitalny   and    His    All- 
Girl  Orchestra 

• 

GET  HEP  TO  LOVE  with  lovely  little   GLORIA  JEAN 

And  These  Great  Pictures  Now  Showing 
at  Your  Favorite  Theatres 

CORVETTE  K-225 

starring  Randolph  Scott 

PHANTOM  OF  THE  OPERA 

in  Technicolor  starring  Nelson  Eddy, 
Susanna  Foster  with  Claude  Rains 

OLSEN  &  JOHNSON'S 
CRAZY  HOUSE 

.  .  .  their  greatest  show  for  mirthi 

UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


^AA. 


E(A7±    an 


Disney  Films  to  Educate  the  Illiterate 

The  Walt  Disney  Sludius.  in  cooperation  with  the 
State  Department  and  Office  of  the  Coordinator  of 
Inter-American  Affairs,  have  been  working  for  several 
months  on  a  series  of  educational  films,  the  purpose  of 
which  is  the  instruction  of  the  illiterate.  In  a  recent 
broadcast,  Mr.  Disney  stated  there  were  3,000,000  in 
the  United  States  unable  to  sign  their  names,  and  15,- 
000,000  who  can  not  read  a  newspaper.  He  explained 
the  film  program  calls  for  three  types  of  films : 

"Motivation  films  designed  to  arouse  the  innate 
interest  of  adult  illiterates.  In  these  films  we  try  to 
create  a  desire  to  learn  and  we  promote  the  advantages 
for  him  and  his  children. 

"Teaching  films.  The  training  film  will  never  re- 
ftlace  the  teacher  in  the  classroom.  Rather  it  will  help 
the  teacher — be  sort  of  his  right  arm  in  getting  over 
ideas  quickly  and  eftectively.  In  connection  with  this, 
these  teaching  films  will  be  supplemented  by  simple 
inexpensive  pamphlets  on  the  film's  particular  subject — 
health,  sanitation,  organization. 

"The  third  group  is  the  teacher  training  film — a 
guide  for  voluntary  and  regular  teachers  to  aid  them 
in  projecting  the  modern  and  practical  methods  we  call 
audio-visual  material." 

Television  Developments  Forecast 

Within  five  years  after  commercial  resumption  of 
television,  sight  and  sound  programs,  broadcast  by  net- 
work and  individual  stations  in  157  key  cities,  will  be 
available  to  60  per  cent  of  the  people  of  the  United 
States  if  the  radio  industry  can  produce  a  television 
home  receiver  priced  at  approximately  $200.  This  was 
forecast  by  Thomas  F.  Joyce,  Manager  of  the  Radio, 
Phonograph  and  Television  Department  of  the  Radio 
Corporation  of  America,  speaking  before  a  joint  meet- 
ing of  the  American  Television  Societ)'  and  the  Adver- 
tising Club  of  New  York. 

In  a  clear-cut  analysis  of  postwar  television  markets, 
Mr.  Joyce  declared  that  the  number  one  problem  of 
the  postwar  television  industry  was  an  acceptable  low 
cost  radio  television  receiver.  He  cited  an  11-city  sur- 
vey which  showed  that  over  61  per  cent  of  men  and 
women  questioned  said  they  would  buy  a  good  tele- 
vision receiver  priced  at  $200.  The  development  of  a 
low  cost  automatic  rebroadcasting  television  transmitter, 
to  relay  programs  in  areas  outside  the  scope  of  the  key 
network  stations,  will  make  it  economically  feasible  to 
bring  television  service  to  practically  every  home  in 
the  United  States,"  he  said. 

The  nucleus  of  a  television  network  has  already  been 
started.  Programs  originating  at  NBC,  in  New  York, 
are  now  being  broadcast  to  Philadelphia,  New  York, 
and  Albany-Schenectady.  Television  broadcasting  fa- 
cilities also  exist  in  Chicago  and  Los  Angeles.  A  tele- 
vision station  would  also  begin  broadcasting  from  Cin- 
cinnati as  soon  after  the  war  as  equipment  became 
available,  Mr.  Joyce  revealed. 

He  estimated  that  within  two  or  three  years  after  the 


d 


December,   194} 


Page   399 


^Ot 


■E± 


full  commercialization  of  television,  about  ten  per  cent 
of  the  wired  homes  in  the  foregoing  cities  or  741,000 
families,  representing  a  probable  audience  of  seven 
million  people  would  own  television  receivers.  "We 
can  assume  further,"  he  continued,  "that  within  three 
(ir  four  years  after  commercial  resuni])tion  of  television, 
\\'ashington,  D.  C,  Baltimore,  Hartford,  Providence, 
and  Boston  will  have  television  transmitters.  These 
cities,  together  with  Philadelphia,  New  York,  Schenec- 
tady and  Albany,  could  be  J  interconnected  with  a  tele- 
vision network  circuit  about  600  miles  long."  The 
RCA  executive  then  went  on  to  describe  the  develop- 
ment of  the  television  network  by  trunk  lines,  thus  link- 
ing the  middle  west  with  the  Atlantic  seaboard.  This 
trunk  line  television  network,  with  the  secondary  net- 
works that  would  be  off-shoots  from  it,  he  said,  can  be 
expected  to  develop  approximately  five  years  after  the 
full  commercialization  of  television.  By  the  end  of 
the  fifth  year,  he  said,  engineers  should  be  able  to  de- 
velop the  automatic  transmitter  for  rebroadcasting  tele- 
vision programs,  thus  blanketing  areas  of  the  country 
imreached  by  the  stations  in  the  157  key  cities. 

Mr.  Joyce  also  took  occasion  to  remind  his  audieqce 
that  it  was  too  much  to  ex])ect  television  to  spring  for- 
ward as  an  industry  the  day  the  fighting  ceases.  "It 
may  be  a  year,  or  two  or  three  years  after  the  war 
before  television  is  ready  to  go  forward  on  a  commer- 
cial basis,"  he  iterated.  "Of  this,  though,  we  may  be 
certain  :  that  the  generations  that  come  after  the  war 
will  take  home  television  service  just  as  much  for 
granted  as  the  present  generation  lakes  radio." 
CIAA  Film  Program  Progresses 

The  ^Motion  Picture  Division  of  the  Coordinator  of 
Inter-American  Affairs,  which  was  inaugurated  two 
and  a  half  j'ears  ago  to  promote  the  cultural  exchange 
of  information  with  the  Latin  American  republics,  to 
date  has  distributed  170  films  on  the  U.  S.  to  Mexico, 
Central  and  South  America,  according  to  the  first  niun- 
ber  of  Salndos  Amigos.  a  newsletter  which  is  to  be 
issued  regularly  to  the  distributors  of  the  Coordinator's 
motion  pictures.  These  films  have  come  from  various 
sources — the  motion  picture  industry,  commercial  and 
advertising  film  sources,  the  Army  Signal  Corps  train- 
ing film  program.  Office  of  War  Information  and  other 
Government  agencies,  educational  institutions  and  pri- 
vate sources.  Many  have  been  produced  especially  for 
the  Coordinator.  182  16mm  projectors  have  been  pro- 
vided for  the  Latin  America  film  showings. 

In  the  United  States,  48  subjects  on  Latin  America 
are  now  available  for  non-theatrical  exhibition,  approxi- 
mately twice  the  number  in  circulation  here  a  year 
ago.  The  latest  of  these  films  include  Good  Neighbor 
Family,  Schools  to  the  South.  Montevideo  Family, 
Housing  in  Chile  and  Young  Uruguay  (produced  in 
South  America  by  Julien  Bryan)  ;  Jungle  Quest  and 
Treasure  Trove  of  Jade  ( from  the  National  Geographic 
Society)  and  the  travelogues  on  Mexico,  titled  Pic- 
turesque Patscuaro,  The  Road  to  Cuernavaca,  and 
Tchuantepec. 


'n^  "FIIWATIC 

Triple-Purpose 
Film  Slide  Proiector 


USED 
3  WAYS 


■V"  # 


2.  For  Single  Frame  35mm 
Slide-film 

3.  For  Double  Frame  35mm 
Slide-film 


Used  By  the  Armed  Forces 

^  SPEEDS  VISUAL  TRAINING 


New  Non-Rewind  pesigx 
Senates  R.wlnd.n., 
,   Motor  Driven  Forced 
Air  Cooled 

,   Instantly  Adjustable 
,   Includes  Manumatic 
Slide  Carrier 

„„d  other  features 


This  new  easier-to-operate 
projector  simplifies  your  pro- 
jection problem  in  war  train- 
ing and  industrial  education. 
Provides  clearer  visibility  for 
larger  audiences.  The  Film- 
atic  is  built  like  a  pro- 
fessional model — yet  is  easily 
portable.  Has  corrected  pro- 
jection lens  (5"  f:35).  Uses 
300,  200  or  100  watt  lamp. 
Complete  with  switch,  cord 
and  custom-built  carryin£ 
case. 


^^  AIR-FLO 
STEREOPTON 


ilbove  liem%  Ar» 
Available  Now  on 
Proper    Priority   for: 

Educational  Institutions 
.  .  .  Army  and  Navy 
.  .  .  Maritime  bases 
.  .  .  Lend-Lease  .  .  . 
War  Industries  .  .  . 
Government  Agencies 
. .  .  Medical  Professions. 

When  tvriting, 


•  Forced-Air  Cooled 

•  Takes   up    to    1000 
Watt  Lamps 

•  Choice  of  Lenses 


•  Pre-Foeus  Socket  Aligns 
Filament  on  Optical  Axis 

•  All  Steel-Welded  Structure 

•  Built-in  Tilting  Device 

•  Fully  Adiustabte   Bellows 


Developed  to  meet  today's  needs 
in  training  centers  and  schools. 
Cooler-operating  .  .  .  for  long 
projection  distances.  Shows 
standard  stereopticon  slides* 
Has  powerful  but  quiet  high 
speed  motor.  Three  ground  and 
polished  lens  furnished.  30''  long 
overall.  Conveniently  portable. 
please  address  DEPT.  C 


GoidE    MANUFACTURING    CO. 


1310    WEST     MADISON     S  T  II  E  E  T 


Page  400 


The  Educational  Screen 


A  TIMELY  HISTORICAL  DRAMA 

A  STORY  2000  YEARS  OLD- 
WRITTEN  FOR  THIS  VERY  HOUR! 

"The  Last  Days  of  Pompeii" 

BASIL  RATHBONE— PRESTON  FOSTER— ALAN  HALE 

Modem  Warfare  is  being  iought  on  the  very 
spot  in  which  this  fihn  takes  place — Pompeii 
and  Naples,  'neath  Mt.  Vesuvius.  The  clash  of 
philosophies  dramatized  in  this  iilm  is  again  in 
action  TODAY  in  the  present  world  conflict. 
Book  this  coUosal  production  NOW.  Historical 
drama  at  its  best!    10  reels  .  .  .  16mm  Sound. 

NOTE:  Settings  and  props  used  in  this  production  are  un- 
surpassed in  accuracy,  and  their  educationol  value  alone 
makes  the  film  a  dynamic  study  of  Ancient  Roman  archi- 
tecture, customs,  amusements,  dress,  marketing,  religion, 
social  customs,  political  life,  and  the  institution  of  slavery 
for  conquered  peoples. 


MANSE  FILM  LIBRARY   cinlt„»o«  i",.  oh'o 


SELECTED 
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FILM  Fundamentals  of  Biology 8  rolls 

Write  for  Folder  ond  Free  Sample  Strip 

VISUAL      SCIENCES,  ?^\  Suffern,  Hew  York 


COVARRO8IAS 

Important  as  visual  education  . . .  stimulating  as 
on  insight  into  a  vital  world  area!  A  scientifically 
accurate,  artistically  direct  study  of  Pacific  ethnol- 
ogy, economy,  art,  botany,  native  housing  and 
transportation,  in  brilliant  color. 

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Write  for  Free  Sample 

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222  Oakridce  Blvd.,  Day tona  Beach,  Fla. 


Photographic  Equipment  Association  Meets 

A  group  of  U.  S.  and  Canadian  representatives  of 
the  Photographic  Mamitacturers  and  Distributors  As- 
sociation met  in  Chicago  October  20-21  to  discuss  post- 
war planning,  export,  taxation  relief,  credits,  public  re- 
lations, standardization,  exploitation  of  new  fields,'  and 
other  problems.  President  Oscar  W'illard  Ray  of  Times 
Appliance  Co.,  Inc.,  New  York  City,  presided.  At  the 
Ijasic  materials  session,  speakers  from  nationally-known 
manufacturers  of  raw  materials  revealed  new  develop- 
ments for  use  in  ]wst-war  production.  These  talks 
were  accompanied  by  pertinent  motion  j^ictures,  includ- 
ing The  W'orking  of  Magnesium,  produced  for  the 
Army  An  Forces,  the  U.  S.  Steel  picture  The  Making 
and  Shaping  of  Steel,  and  Unfinished  Rainbows,  a  film 
on  aluminum.  Also  shown  at  another  session  were 
This  Plastic  Age,  and  the  recently  relea.sed  Westing- 
house  motion  picture  Electronics  at  Work. 

Mr.  J.  H.  McXabb,  president  of  Bell  &  Howell,  ad- 
dressed the  banquet  gathering  on  "'Post  War  Merchan- 
dising Ethics  in  the  Photographic  Industry.'' 

Visual  Workers  in  New  Locations 

.\rch  Mercev  is  leaving  the  Office  (jf  \\'ar  Informa- 
tion, having  received  a  lieutenant's  commission  in  the 
Coast  Guard.  Mr.  ^lercey  has  long  been  associated  with 
Government  film  activities,  lately  serving  the  OfTice  of 
^^'ar  Information  as  assistant  to  Lowell  Mellett  and 
then  to  Mr.  Stanton  Griffis.  present  chief  of  the  OWI 
Bureau  of  Motion  Pictures. 

L.  C.  L.XRSON  has  been  granted  a  leave  from  Indiana 
University  to  take  over  his  duties  as  Associate  Director 
of  the  American  Film  Center  and  Chairman  of  the  Ed- 
ucational Film  Library  .Association. 

Osc.\R  Sams,  formerly  with  the  L^niversity  of  Ten- 
nessee, Division  of  University  Extension,  has  been  ap- 
pointed Chief  of  Distrilintion  for  the  Museum  of  Mod- 
ern .Art  Film  Library,  which  is  cooperating  with  the 
Ofifice  of  the  Coordinator  of  Inter-American  Affairs. 

JoHx  K.  Hedces  is  -Acting  Director  of  the  Bureau 
of  Visual  Instruction  at  the  State  University  of  Iowa. 
Iowa  City,  .succeeding  Lee  Cochran,  now  a  lieutenant 
in  the  Xavy  and  stationed  at  Seattle. 

Etta  Schneider  Ress.  one  of  the  Screen  editors, 
has  taken  over  Miss  Margaret  Kneerim's  work  at  the 
New  York  University  Film  Li1)rary,  during  the  latter's 
leave  of  absence. 

Miss  Ruth  Moline,  formerly  Secretary  of  the  Bu- 
reau of  .\udio-Visual  Education,  University  of  Ne- 
Ijraska,  has  been  added  to  the  staff  of  the  Non-Theatri- 
cal Division,  Bureau  of  Motion  Pictures,  Ofifice  of  War 
Information. 


December,   194} 


Page  401 


PEARL  BUCK  Says— "Shows  better  than  any 
film   I   have   yet  seen,   the   story  of  the  war  a 
it  has  been  experienced  in  China." 
18  Min.  Umm  SOUND 
RENTAL  $3.00  SALE— Apply 


l;l;M'liM!IJlH 


$00  BROtDWM 
HE*  yORK  ».  H   * 


The  Literature  in  Visual  Instruction 

(Continued  from  page  386) 

Kducation   .Association,    the    U.S.    Office    of    Civilian    Defense 
anti  others. 

Topics  listed  in  the  handbook  include :  civilian  protection, 
civilian  war  siervices.  industry,  agriculture  and  labor;  United 
Nations,  and  War  morale  films,  j 

PROJECTION' 
Visual  and   Other  Aids— Maurice    P.   Hunt,   Kenton   High 
School,  Kenton.  Ohio — The  Social  Studies,  34:321    Novem- 
ber, 1943. 

The  first  of  a  monthly  section  dealing  with  problems  of 
audio-visual  aids  in  the  social  studies.  Go<jd  advice  is  given  in 
this  number  on  the  preparation  of  a  special  room  for  projection 
as  a  means  of  simplifying  the  routine.  .A  projection  room  can 
be  totally  darkened,  equipped  with  proper  outlets,  table  and 
screen  and,  if  possible,  a  soundproof  booth  may  be  built  to 
eliminate  the  noise  of  the  machine. 

SOURCES  OF  IXFORM.\TIO.\ 
New  Tools  for  Learning  about  War  and  Postwar  Problems 

— New  Tools  for  Learning,  280  Madison  Avenue,  N.  Y.  Id 

N.  Y.   r>4p.  Free. 

A  helpful  catalog  of  films,  pamphlets  and  recordings  organ- 
ized around  some  of  the  vital  problems  of  war  and  postwar 
living.  These  problems  include  the  meaning  of  democracy,  the 
United  States  at  War,  the  Community  at  War,  Getting  to 
Know  our  Allies  and  Neighbors  Better,  the  Enemy  We  Fight, 
and  Postwar  Planning. 

For  those  who  prefer  to  look  up  materials  in  terms  of  the 
person  using  them,  there  is  a  section  which  lists  titles  for  the 
teacher  of  social  studies,  the  teacher  of  home  economics,  the 
guidance  counsellor,  the  school  principal,  the  P.T.A.  chairman, 
and  the  like.  ,\n  alphabetized,  annotated  list  of  all  materials 
mentioned  in  other  sections  is  provided. 

Bibliography  of  Visual  Aids  for  Pre-Induction  Training- 
prepared    jointly    by    the    Civilian     Pre-Induction    Training 
Branch  of  the  War  Department  and  the  Division  of  Visual 
Aids  for  War  Training  of  tlic   U.   S.   Office  of  Education. 
with  the  cooperation  of  the  pro<lucers  of  the  visual  materials 
included.   80  pp.  (printed)  August,  1943. 
A  carefully  selected  list  of  500  films  (16mm  sound  and  silent) 
and  filmstrips  correlated  for  use  with  War  Department  PIT 
courses  in  Fundamentals  of  Electricity,  Machines,  Shop  Work. 
Radio,   and    Automotive    Mechanics,   and   valuable  for   use   in 
courses  in  Pre-F'light  .Aeronautics,  and  Physical  Fitness. 

The  visual  aids  included  in  this  bibliography  were  selected 
from  lists  submitted  by  producers,  and  from  catalogs  and  an- 
notated bibliographies.  The  films  and  filmstrips  related  to 
electricity,  machines,  shop  work,  radio,  and  automotive  me- 
clianics  were  carefully  appraised  by  heads  of  visual  education 
departments,  directors  of  film  libraries,  and  teachers,  who  judged 
them  in  terms  of  their  utility  for  specific  purposes  in  the  PIT 
courses. 

Information  supplied  on  each  listed  item  includes  brief  descrip- 
tion of  contents,  length  (in  running  time  for  films,  and  in 
number  of  frames  f<;>r  filmstrips),  date  of  production  insofar 
as  is  known,  purchase  or  rental  charge,  and  producer.  Ap- 
pendices give  names  and  addresses  of  producers  and  distributors. 
This  bibliography  renders  a  real  service  to  the  pre-induction 
teacher,  in  providing  appropriate  visual  materials  with  which 
to  accelerate  and  facilitate  instruction  in  these  important  train- 
ing courses.  Copies  may  be  obtained  free  from  the  Division  of 
Visual  Aids  for  War  Training,  U.  S.  Office  of  Education, 
Washington  25,  D.  C. 


You  Can't  Go  To  Rome — Bui  You  Can  See 
THE  STORY  OF 

The  VATICAN 

Produced  by  THE  MARCH  OF  TIME 

A  MUST  for  all  creeds.' 
No  picture  more  timelY'- 

THE  STORY  OF  THE  VATICAN  is  both  informative 
and  entertaining.  Takes  you  where  even  the  most 
privileged  are  barred  as  it  unfolds  the  story  of  the 
smallest  Sovereign  State.  Depicts  the  efforts  of  His 
Holiness  Pope  Pius  XII  to  bring  peace  to  a  war-torn 
world. 

Shows  the  murals  of  Michelangelo  in  the  Sistine 
Chapel  .  .  .  the  wonders  of  the  basilica  of  St.  Peters 
...  the  Vatican  library,  the  Burial  Crypts,  the 
powerful  Radio  Station,  Post  Office  and  Shops. 
Highly  recommended  for  school  showings. 

6  Reels,  16mm.  Sound 
Availoble  for  Rental 

Send  for  Catalog  of  3000  Enferfainment  and  Educational 
Subjeett  avallablo  for  rental  and  sale. 

HJUJUM'i'UiiisouMD  \\y}^  ^-  ^-T  rrHiJi.n.i.iw 

25  West  45th  Street    Dept.  E- 1 2    New  York  1 9,  N.  Y. 


PROJECTORS 

are  busy  day  and  night 

risucUy  aisistinq  in  the  rapid  troining  oi  the  Talianl  men 
daiendinq  our  country.  Beside*,  many  Holmei'  machine! 
aie  affording  recreation  and  entertainment  to  our  far-ilung 
corps  in  their  leisure  hours,  projecting  for  them  films  rem- 
iniscent oi  home  and  happier  days.  To  that  end  it  is  our 
privilege  to  dedicate  the  entire  output  of  the  Holmes' 
plant  until  such  time  at  our  operations  may  be  restored 
to  ciTilian  uses.  Erery  consideration  will  be  giren  inquiries 
lor  parts  or  replocements   on   existing  Holmes'   equipment. 

HOLMES  PROJECTOR  COMPANY 

MoHiifacturcrs  of   16mni  ond  35mm  Sound  on-nim 
Projoetors  for  ovor  25  yoors  to  DoaUrs  and  Usors 

1813  ORCHARD  STREET  CHICAGO  14 


Page  402 


The  Educational  Screen 


L.u%%£.nt  "^iLm  ^:y\fEOj±. 


■  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York,  release  at  the  end 
of  every  year  a  football  review  which 
is  of  real  instructive  value  to  athletic 
directors  and  of  great  interest  to  all 
students  of  the  game.  The  latest  reel 
in  this  series  is  being  distributed  as: 

Football  Thrills  of  1943 — presenting 
the  best  moments  from  the  great 
games  of  the  past  season.  Students  of 
this  film  are  coaches  and  players.  It 
is  said  that  high  school  coaches  in  al- 
most every  section  of  the  country  use 
this  film  in  teaching  the  fine  points  of 
the  game  as  played  by  top-ranking 
college  teams.  The  projector  is  fre- 
quently stopped  and  a  play  discussed 
while  one  frame  of  the  picture  is  held 
on  the  screen,  giving  the  coach  a 
chance  to  point  out  evidences  of  good 
teamwork  on  offensive  plays,  or  good 
strategy  and  anticipatory  action  on  the 
defense. 

Castle  editors  use  the  utmost  cau- 
tion to  eliminate  details  of  plays  which 
are  jealously  regarded  by  certain 
coaches  as  their  own  exclusive  devel- 
opments although,  of  course,  such 
plays  are  regularly  photographed  by 
the  newsreels.  But  these  plays,  as  a 
rule,  are  not  of  as  much  value  in  the 
teaching  of  football  as  the  fundamen- 
tal plays  which  are  smoothly  and  ex- 
pertly  executed. 

■  Pictorial  Films,  Inc.,  RKO  Building, 
New  York  City,  has  secured  the  16mm 
distribution  rights  on  three  outstand- 
ing David  O.  Selznick  feature  pro- 
ductions, namely: 

Adventures  of  Tom  Sawyer,  with 
Tommy  Kelly  in  the  title  role,  sup- 
ported by  Jackie  Moran  and  Marcia 
Mae  Jones. 

The  Prisoner  of  Zenda,  co-starring 
Ronald  Colman  and  Madeleine  Carroll. 

The  Garden  of  Allah,  starring  Mar- 
lene  Dietrich. 

They  are  available  for  rental  by 
schools,  churches  and  other  institu- 
tional film  users. 

To  its  series  designed  as  Pictorcels, 
Pictorial  Films  has  recently  added  several 
new  subjects,  including  twelve  100  ft. 
musical  films,  two  timely  travelogues  on 
Norway  and  Holland,  and  the  following 
sports  subjects : 

Here  Comes  Malicious — a  horse  rac- 
ing film. 

Demons  of  the  Deep — dramatic  un- 
dersea story,  climaxed  by  a  thrilling 
battle  between  an  octopus  and  an  eel. 

A  new  catalog  is  now  ready  listing 
all  the  current  16mm  sound  films,  both 
shorts  and  features,  which  are  exclu- 
sive with  Pictorial  Films,  Inc.  Copy 
will  be  sent  on  request  to  any  school, 
church  or  organization  interested.  Mil- 
ton J.  Salzburg,  President  of  Pictorial 
Films,  is  now  on  the  West  Coast  to 
negotiate  for  their  resumption  of  edu- 


cational film  production.  Prior  to  the 
war  this  company  procured  a  series  of 
films  based  on  American  History.  It 
is  the  plan  to  renew  production  with 
a  view  toward  supplying  rapidly  ex- 
panding outlets. 

■  Bell  &  Howell  Co.,  1801  Larchmont 
Avenue,  Chicago,  have  acquired  the 
following  two  feature  films  for  their 
rental   Filmsound   Library: 

Journey  to  Jerusalem — 9  reels,  16mm 
sound — a  screen  production  of  the 
play  as  produced  at  the  National 
Theatre  in  New  York  City  by  the 
Playwrights  Company.  It  is  an  in- 
spiring and  highly  dramatic  story  of 
the      young     Jesus    by     the     eminent 


A  scene  from  "Journey  to  Jerusalem" 

American  dramatist.  Maxwell  Ander- 
son. A  passage  from  Luke  which  tells 
of  a  Passover  pilgrimage  to  Jerusalem 
by  the  Boy  and  His  family,  is  the 
basis  of  this  unique  transfer  of  a 
Broadway  play,  in  its  entirety  directly 
into    "theatre-on-film." 

Lady  in  a  Jam — 10  reels,  16mm 
sound — produced  by  Universal.  This 
is  a  gay  comedy  in  which  Irene 
Dunne  portrays  an  irresponsible  New 
York  heiress  who  loses  her  fortune 
and  then  goes  West  to  the  badlands 
of  Arizona  to  work  an  abandoned  gold 
mine  in  a  ghost  town.  Others  in- 
volved are  a  cowboy  and  a  psychia- 
trist trying  to  straighten  out  the  kinks 
in  the  lady's  mind.  Supporting  play- 
ers are  Patric  Knowles  and  Ralph  Bel- 
lamy. 

■  The  Princeton  Film  Center,  Prince- 
ton, N.  J.,  has  been  appointed  dis- 
tributor of  the  Sante  Fe  Railway's  two 
new  16mm  color  motion  pictures  just 
completed; 

Loaded  for  War — 2  reels — depicting 
the  vital  role  being  played  by  the  na- 
tion's railroads  in  the  march  to  vic- 
tory. It  tells  the  whole  story  of  the 
remarkable  job  the  railroads  have  done 


Desert  Victory  in  16mm  Sound 

British  Information  Services,  360  N. 
Michigan  Avenue,  Chicago,  make  the  im- 
portant announcement  that  on  January 
14,  1944,  16nim  sound  prints  of  Desert 
Victory,  will  be  available  from  all  its 
offices.  This  picture  is  the  notable  and 
widely  acclaimed  British  film  record  of 
the  Eighth  Army's  victorious  march 
across  the  African  desert  westward  to 
Tripoli. 

Other  offices  of  British  Information 
Services  are  located  in  Los  Angeles, 
New  York  City,  San  Francisco,  and 
Washington,  D.  C.  Further  details  will 
be  given  in  the  January  issue. 


in  handling  the  greatest  mass  move- 
ment of  army  men  and  materials  in  the 
history  of  this  or  any  other  nation. 

Tank  Destroyers — 2  reels — produced 
with  the  cooperation  of  the  Bureau  of 
Public  Relations,  War  Department,  and 
the  Commanding  General,  Camp  Hood, 
Texas.  It  shows  the  basic  training  of 
the  troops  who  man  the  tank  de- 
stroyers, and  the  problems  of  trans- 
porting necessary  supplies  to  service 
this  camp. 

■  Ideal  Pictures  Corporation,  28  E. 
Eighth  Street,  Chicago,  reports  many 
recent  additions  to  its  library  of  16mm 
sound  films  among  which  are  such 
significant  major  Hollywood  feature 
pictures  as: 

Adventures  of  Tom  Sawyer— David 
O.  Selznick's  film  version  of  Mark 
Twain's  great  story. 

Foreign  Correspondent,  starring  Joel 
McCrae — an  absorbing  story  of  present- 
day  adventure,   heroism  and  danger. 

The  Prisoner  of  Zenda — Anthony 
Hope's  romantic  tale. 

Winter  Carnival,  with  Ann  Sheridan 
and  Richard  Carlson — Adventure  and 
gay  romance  against  the  beautiful  set- 
ting of  Dartsmouth  Winter  Carnival 
world-famous   Festival  of   Fun. 

Made  for  Each  Other— a  David  O. 
Selznick  production,  starring  James 
Stewart  and  Carole  Lombard. 

Recently  issued  and  available  is 
Ideal's  catalog  listing  scores  of  films 
lately  added  to  this  organization's  large 
rental  library.  This  listing  is  supple- 
mentary to  Ideal's  large  main  catalog 
previously   issued. 

■  Office  of  War  Information,  Bureau 
of  Motion  Pictures,  Washington,  D.  C, 
has  deposited  prints  of  four  new  sub- 
jects in  16inm  sound  with  its  distribu- 
ting agencies.    They  are: 

Black  Marketing — a  dramatization  of 
of  an  actual  case,  of  black  marketing 
showing  how  it  operates  and  how  it  is 
defeated  by  cooperation  of  the  public 
with  the  OPA. 

Day  of  Battle — inspiring  account  of 
the  life  and  death  of  an  aircraft  carrier. 

Three  Cities — story  of  Norfolk  (Va.), 

Willow   Run    (Mich.),    Ogden    (Utah), 

(Concluded  on  page  404) 


December,   194} 


Page  403 


Dramatic! 
Timely! 


I 


Informative  i 


.  .  .  this  film  of  a  great  American  industry 
at  war  is  needed  in  your  visual  education 
program. 

One  of  the  fundamental  causes  for  AlHed  success 
in  this  war  is  the  speed  and  efficiency  of  American 
industry  in  changing  over  to  the  production  of 
war  materials. 

Take  your  students  on  this  trip  through  the 
plants  of  a  typical  industrial  organization.  Let 
them  see  what  this  changeover  meant,  what  is 
now  being  accomplished. 

Seeing  this  picture  and  hearing  John  Nesbitt's 
stirring  narration  will  help  them  realize  more 
clearly  why  we  are  fighting,  and  to  appreciate 
more  fully  the  part  played  by  men  and  women 
in  American  factories. 

"The  Ramparts  We  Build"  is  available  on 
either  16  or  35  mm  film,  and  runs  for  20  minutes. 
It  is  loaned  free  to  schools. 

To  obtain  it  for  your  school,  send  the  coupon 
below  to  School  Service,  Westinghouse  Electric  & 
Manufacturing  Company,  306  Fourth  Avenue, 
P.  O.  Box  1017,  Pittsburgh  (30),  Pa. 

TV^stindiouse 

Plants  in  35  Cifias^^^  Offices  Evar/whar* 

School  Service 

Westinghouse  Electric  i  Manufacturing  Co. 

,^06  Fourth  Ave.,  P.  O.  Box  1017,  Pittsburgh  (30).  Pa. 

I  would  like  to  show  the  sound  motion  picture  "The  Ramparts 

We  Build"  on 

Date 
If  not  available  then,  second  choice  of  dates  is , 

third  choice . 

(Sound  film  can  nol  be  run  in  silent  projectors.) 

Size:  16  mm  D:  ^^  mm  Q.  Ship  by  Express  D:  Parcel  Post  D- 


.•sChfMtl 


Title 


Street 


Postal  Zone 


State 

ES-12t 


Page  404 


czrfYnona  tns.  iJ^xoducE%± 


New  Kodachromes  of  Flags  and 
Emblems  of  American  Republics 

A  new  set  of  twenty-one  2"  x  2" 
Kodachrome  slides  of  the  flags  and 
emblems  of  the  American  Republics 
has  been  announced  by  the  Society  for 
Visual  Education,  Chicago  11,  Illinois. 
The  flag  and  emblem  of  one  Republic 
appear  on  the  same  slide,  both  in  true 
natural  color.  In  addition,  there  are 
Kodachromes  of  the  American  and 
British  flags  silhouetted  against  the 
sky;  a  close-up  of  the  American  flag; 
and  one  of  it  billowing  in  the  wind 
from   an   eagle-tipped   flagpole. 

These  natural  color  slides  are  especial- 
ly interesting  in  the  study  of  all  the 
American  Republics  and  are  available 
at  the  nominal  price  of  SO  cents  each. 

A  complete  list  will  be  furnished  free 
on  request. 

2x2  Radio  Mat  Slides 

Radio  Mat  slides  for  typewritten 
messages,  long  available  in  the  stand- 
ard size,  are  now  made  also  for  the 
2x2  slide  projectors.  Manufactured 
by  the  Radio  Mat  Slide  Company. 
Daytona  Beach,  Florida,  the  new  Du- 
plex 2x2  slides  in  boxes  of  SO  (mak- 
ing 100  slides),  come  in  colors  white, 
amber  or  green  ,and  can  be  purchased 
direct  from  that  company,  or  from 
photographic  dealers  throughout  the 
country.  These  handy  Radio  Mat  slides 
have  long  been  universally  known  and 
used  to  project  typewritten  messages 
and  announcements  of  all  kinds. 

Victor  Moves  New  York  Office 

The  new  office  quarters,  projection 
salon,  and  service  department  of  Vic- 
tor Animatograph  Corporation's  New 
York  City  Branch  is  now  located  right 
in  the  "heart  of  Manhattan" — 330  West 
42nd  Street. 

Increased  business  has  so  taxed 
former  facilities  that  these  new  and 
finer  quarters  on  the  twenty-seventh 
floor  of  the  McGraw-Hill  building 
were  deemed  necessary  to  meet  the 
many  requests  for  advice  and  guidance 


coming  from  hundreds  of  new  users 
of  Victor  equipment.  Anyone  in  need 
of  projection  facilities  while  in  New 
York  City  is  cordially  invited  to  make 
use  of  the  new  projection  salon.  Mr. 
Horace  O.  Jones,  the  Eastern  Man- 
ager for  Victor,  is  completely  equip- 
ped to  give  all  types  of  asisstance  in 
connection  with  16mm  motion  picture 
equipment. 

• 
DeVry  Observes  Anniversary 

In  celebration  of  the  30th  anniver- 
sary of  its  founding,  and  the  67th 
birthday  anniversary  of  the  late  Dr. 
Herman  A.  DeVry,  its  founder,  DeVry 
Corporation,  Chicago,  announces  the 
conclusion  of  arrangements  whereby 
several  of  its  patented  projector  mech- 
anisms are  released  for  manufacture 
for  the  Armed   Forces. 

DeVry's  president,  W.  C.  DeVry, 
explains  the  corporation  action  in  the 
fact  that  the  U.  S.  Army,  Navy  and 
the  British  Admiralty  need  patented 
DeVry  equipment  in  larger  quantities 
and  at  a  rate  of  production  in  excess 
of  one  company's  capacity  to  produce. 
Rather  than  expend  its  own  facilities 
at  the  expense  of  time,  critical  machin- 
ery and  government  funds,  DeVry  re- 
leased its  patents  to  subcontractors 
royalty-free  for   the   duration. 

DeVry  Corporation  was  founded  30 
years  ago — in  1913— by  Mr.  DeVry's 
father  as  an  outgrowth  of  his  develop- 
ment and  manufacture  of  the  world's 
first  portable  motion  picture  equip- 
ment —  a  35mm  "suitcase  projector," 
which  Dr.  DeVry  designed  and  built 
to  take  the  entertainment  and  teach- 
ing benefits  of  motion  pictures  out  of 
the  theatre  to  the  crossroads  and  class- 
rooms of  the  world.  Dr.  DeVry  was 
born  on  November  27,  1867.  He  died 
in  1941  —  the  fifth  American  and  the 
first  Chicagoan  to  be  awarded  a  place, 
with  Thomas  A.  Edison  and  George 
Eastman,  on  the  international  honor 
roll  of  the  Society  of  Motion  Picture 
Engineers. 

Presidents     Edward 

B.  DeVry  of  De- 
Forest's  Training, 
Inc.   (left)   and  Wm. 

C.  DeVry  of  DeVry 
Corporation,  Chi- 
cago, explain  to 
Wacs  and  soldiers, 
part  of  a  contingent 
of  specialist  troops 
enrolled  at  DeFor- 
est's  Training  for 
special  work  on  elec- 
troni;  equipment 
built  by  DeVry  Cor- 
poration the  mechan- 
ism of  their  father's 
"suitcase     projector" 

of  1913. 


The  Educational  Screen 

Jam  Handy  Visual  Aids  Catalog 

The  Jam  Handy  Organization.  2900 
East  Grand  Boulevard,  Detroit,  have 
prepared  a  catalog  of  eighty  pages, 
titled  "Slidefilms  and  Motion  Pictures 
to  Help  Instructors,"  listing  teaching 
slidefilm  units  and  motion  pictures 
which  are  available  from  that  organ- 
ization. By  a  system  of  classifying, 
indexing  and  cross-indexing,  the  user 
can  locate  quickly  and  easily,  the  vis- 
ual aids  which  are  pertinent  to  the 
subject    under    consideration. 

Each  slidefilm  is  described  as  to  con- 
tents, the  number  of  pictures  in  the 
set  indicated,  and  the  purpose  of  each 
series  outlined.  Similar  descriptive 
material  is  provided  for  all  sound  mo- 
tion pictures  listed.  Enlarged  visual 
strips,  sequence  and  scenes,  repro- 
duced from  the  material  itself,  add  to 
the  informative  value  and  attractive- 
ness of  the  publication.  Data  on  the 
principal  types  of  projectiors,  and  the 
specific  uses  of  each,  are  also  given. 
A  copy  of  this  catalog  will  be  furn- 
ished free  to  any  college,  school,  in- 
structor, or  educational  group,  upon 
request. 

Current  Film  News 

(Concluded  from  page  316) 

and  how  the  war-workers  in  each 
tackled  and  conquered  wartime  living 
problems. 

When  Work  Is  Done — Showing  how 
the  people  of  Sylacauga  (Ala.)  pro- 
vided recreation  for  war  workers  who 
had  come  to  work  and  live  there. 

Films  Incorporated  Announces 
Film  Damage  Insurance 

Films  Incorporated,  330  West  42nd 
Street,  New  York,  is  the  first  com- 
mercial film  library  to  come  out  with 
a  Film  Damage  Insurance  plan,  which 
is  announced  in  its  current  film  cata- 
logue. For  a  charge  of  only  10c  per 
daily  rental  they  assume  all  costs  re- 
sulting from  damage  to  film  while  in 
the  user's  possession.  Even  a  techni- 
color feature  (costing  over  $300  per 
print)  is  covered  by  insurance  against 
injury  to  film  whether  it  be  due  to  (a) 
faulty  projection  equipment  (b)  im- 
proper threading  (c)  insufficient  super- 
vision while  operating  (d)  careless 
handling  of  film  or  (e)  any  other 
causes    resulting    in    damage    to    film. 

"For  a  maximum  charge  of  10c  per 
daily  rental  and  2Sc  for  weekly  or 
longer  rentals  to  be  added  to  each 
billing  during  1943-44  School  Year, 
Films  Incorporated  guarantees  all  of 
its  school  customers  against  any 
charges  for  replacement  of  footage  of 
its  films  necessitated  by  damage  oc- 
curring for  any  of  the  above  reasons 
while  in  the  possession  of  said  school. 

"Due  to  the  low  rates  established  for 
this  new  service  Films  Incorporated 
reserves  the  right  to  discontinue  film 
service  or  to  refuse  to  extend  this 
insurance  to  any  customer  habitually 
damaging   film." 


December,   194} 


Page  40 S 


Mandmade  LANTERN    SLIDES 


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By  using  the  KEYSTONE  Lantern  Slide  OUTFIT,  you  can  quickly  and 
easily  make   inexpensive,   clean-cut,   attraaive   lantern   slides  that  show 
drawings,  charts  and  diagrams,  typewritten  outlines,  text  and  other 
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For  fifteen  years  the  Keystone  View  Company  has  been  developing 
and  perfecting  superior  materials  for  the  making  of  Handmade  Lantern 
Slides.  Only  the  most  attractive  and  projectahle  Handmade  Lantern  Slides 
arc  of  real  service  to  the  instructor.  You  will  find  everything  you  need 
in  the  Keystone  Lantern  Slide  Outfit.  Write  for  full  details  today. 


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Page  406 


The  Educational  Screen 


TJt'TDTr'     nfT-Tr^^       &  XS'C*  a  Trade  Directory 

XluXvJLl       X  XJLu   X       X^XvJCj  for  the  visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (3) 

1425  Williams  St.,  Denver.  Colo. 
Audiofilm  Studio 

1614  Washington   St.. 
Vancouver,  Wash. 

(See  advertisement  on   page  396 ( 

Bailey  Film  Service  (3) 

1651  Cosmo  St.,  Hollywood,  Calif. 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave.,  Chicago.  111. 

See    advertisement    on   paKe   365) 

Better  Films  (2) 

742A  New  Lots  Ave.,  Brooklyn.  N.Y. 
(See  advertisement  on   page  400) 

Brandon  Films  (3) 

1600  Broadway.  New  York,  N.  Y. 

(See  advertisement  on   page  401) 

Bray  Pictures  Corp.  .  (3,  6) 

729  Seventh  Ave..  New  York,  N.  Y. 

Castle  Films  (2,  S) 

RCA  Bldg.,  New  York.  N.  Y. 

(See  advertisement  on   page   374 1 

Central  Education  Association  (1) 

123  S.  Washington  St.. 

Green  Bay,  Wis. 
College  Film  Center  (3,  5) 

84  E.  Randolph  St..  Chicago,  111. 
Creative  Educational  Society  (1) 

4th  Fl..  Coughlan  Bldg. 

Mankato.  Minn. 
DeVry  School  Films  (3) 

1111  Armitage  Ave.,  Chicago,  111. 
( See  advertisement  on   page  366) 

Eastman  Kodak  Co.  (3) 

Teaching  Films  Division 
Rochester,  N.  Y. 

(See  advertisements   on   pages   391,   397) 

Eastman  Kodak  Stores.  Inc.  (3) 

Eastman  Classroom  Films 
356  Madison  Ave.,  New  York,  N.Y. 

Films,  Inc.  (3) 

330  W.  42nd  St..  New  York,  N.  Y. 
64  E.  Lake  St..  Chicago 
314  S.  W.  Ninth  Ave..  Portland,  Ore. 
(See  advertisement  on  inside  front  cover) 

Fryan  Film  Service  (3) 

East  21st  and  Payne  Ave., 
Cleveland,   Ohio 

General  Films,  Ltd.  (3.  6) 

1924  Rose  St..  Regina,  Sask. 
156  King  St.  W.  Toronto 

Walter  O.  Gutlohn,  Inc.  (3) 

25  W.  45th  St..  New  York,  N.  Y. 

(See  advertisement  on   page   401) 

Hoffberg  Productions,  Inc.  (2,  5) 

618-20  Ninth  Ave.,  New  York,  N.  Y. 

Ideal  Pictures  Corp.  (3.  6) 

28  E.  Eighth  St..  Chicago,  111. 

(See  advertisement  on   page  395) 

Knowledge  Builders  Classroom  Films 

625  Madison,  New  York,  N.  Y.  (2,  5) 

Manse  Film  Library  (3) 

2514  Clifton  \\e.,  Cincinnati,  O. 

(See  advertisement  on   page  400) 

National  Film  Service  (2) 

14  Glenwood  Ave..  Raleigh.  N.  C. 
309  E.  Main  St.,  Richmond,  Va. 

Post  Pictures  Corp.  (3) 

723  Seventh  Ave.,  New  York.  N.  Y. 

The  Princeton  Film  Center  (2) 

55    Mountain   Ave.,   Princeton,   N.  J. 

Swank's  Motion  Pictures  (3) 

620  N.  Skinker  Blvd.,  St.  Louis,  Mo. 

(See  advertisement  on  page  396) 


Universal  Pictures  Co.,  Inc.  (2,  5) 

Rockefeller   Center,   New   York  City 
(See   advertisement   on    page   398) 

Visual  Education  Incorporated  C3) 

12th  at  Lamar,  .-Austin.  Tex. 
Vocational  Guidance  Films,  Inc.       (2) 

2718  Beaver  .\\e..  Des  Moines.  la. 
Westinghouse  Electri:  &  Mfg.  Co.  (2,  5) 

306  Fourth  .Xve.,  Pittsburgh,  Pa. 
(See  advertisement  on   page  403) 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 

916  Chestnut  St.,  Philadelphia.  Pa. 
Y.M.C.A.  Motion  Picture  Bureau     (3) 
347   Madison  Ave..  New  York,  N.Y. 
19  S.  LaSalle  St.,  Chicago 
351   Turk  St.,  San   Francisco.  Cal. 
1700   Patterson  .'\ve.,  Dallas.  Te.\. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (3) 

2839  N.  Western  Ave.,  Chicago.   111. 

(See  advertisement  on   page  373) 

Bell  &  Howell  Co.  (3) 

1815  Larchmont  Ave..  Chicago.   111. 
(See  advertisement   on    page  365) 

Central  Education  Association  (1) 

123  S.  Washington  St.. 
Green    Bay,   Wis. 
DeVry  Corporation  (3,  6) 

1111  Armitage  Ave.,  Chicago,  111. 
(See   advertisement  on  page  366) 

Eastman  Kodak  Stores,  Inc.  (3) 

Kodascooe  Libraries 

356  Madison  Ave..  New  York,  N.  ■^■. 
General  Films,   Ltd.  (3.  6) 

1924  Rose  St.,  Regina,  Sask. 

156  King  St..  W.  Toronto 
Holmes  Projector  Co.  (3.  6) 

1813  Orchard  St.,  Chicago,  111. 

(See  advertisement   on   page   401) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago.  111. 

(See   advertisement  on   page  395) 

Radio  Corporation  of  America         (2) 

Educational  Dept.,  Camden,  N.  J. 

(See  advertisement  on   page  393) 

S.  O.  S.  Cinema  Supply  Corp.       (3  6") 

449  W.  42nd  St..  New  York,  N.  Y. 
Victor  Animatograph  Corp.  (3) 

Davenport  Iowa 

(See  advertisement  on   page   369) 

Visual  Education  Incorporated         (3) 

12th  at  Lamar,  Austin,  Tex. 
Williams  Brown  and  Earle,  Inc.  (3  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Da-Lite  Screen  Co.,  Inc. 

2723  N.   Crawford  Ave., 
Chicago  39,  111. 

(See  advertisement  on   page   389) 

Radiant  Mfg.  Company 

1144  W.  Superior  St., 
Chicago  22.  III. 

(See  advertisement   on   page  371) 

National  Film  Service 

14  Glenwood  Ave.,  Raleigh,  N.  C. 
309  E.  Main  St.,  Richmond,  Va. 
Society  for  Visual  Education.  Inc. 
100  E.  Ohio  St.,  Chicago,  111. 

(See  advertisement  on  outside  back  cover) 

The  Stanley  Bowmar  Co. 

2929  Broadway,  New  York  25.  N.  Y'. 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St..   Philadelphia.  Pa. 


SLIDEFILMS 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago.  HI. 

(See  advertisement  on  outside  back  cover) 

The  Jam  Handy  Organization 

2900  E.  Grand  Blvd..  Detroit.  Mich. 

(See  advertisement  on    page  370) 

The  Stanley  Bowmar  Co. 

2929  Broadway.  New  York  25,  N.  Y, 

Visual  Sciences 

Suffern.   New   York 

(See   advertisement   on    page   400) 

Williams.  Brown  and  Earle.  Inc. 

918   Chestnut   St..   Philadelphia.   Pa. 

SLIDES  (KODACHROME  2x2) 

C.  Edward  Graves 

P.  O.  Box  il.  Areata,  Calif. 

Klein  &  Goodman 

18  S.   10th  St..   Philadelphia.  Pa. 

Society  for  Visual  Education,  Inc. 

100  E.  Ohio  St..  Chicago.  111. 

(See  advertisement  on  outside  back  cover) 

The  Stanley  Bowmar  Co. 

2929  Broadway,  New  York  25,  N.  Y. 

SLIDES  (STANDARD  VA  x  4) 

Ideal  Pictures  Corp. 

28   E.   Eighth   St..   Chicago,   111. 
(See  advertisement  on   page  395) 

Keystone  View  Co. 

Meadville.  Pa. 

(See  advertisement   on   page  405) 

Radio-Ma*  Slide  Co.   Inc. 

222  Oakridge  Blvd. 
Daytona  Beach.  Fla. 

(See  advertisement   on   page  400) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester,  N  .Y. 

( See  advertisement  on   inside   back   cover) 

DeVry  Corporation 

1111  Armitage  Ave..  Chicago.  111. 

(See  advertisement  on   page  866) 

General  Films  Ltd. 

1924  Rose  St..  Regina.  Sask. 
156  King  St.,  W.  Toronto 

Golde  Manufacturing  Co. 

1220  W.  Madison  St..  Chicago.  111. 

(See  advertisement  on   page  399) 

Keystone  View  Co. 

Meadville.  Pa. 

(See  advertisement  on   page  405) 

Society  for  Visual  Education.  Inc. 

100  E.  Ohio  St..  Chicago.  111. 

(See  advertisement  on  outside  back  cover) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on   page  368) 

Williams   Brown  and  Earle.  Inc. 

918   Chestnut   St..   Philadelphia,   Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 

Ifimm 

silent. 

(2) 

indicates 

I6mm 

(■ound. 

(3) 

indicates 
silent. 

lemm 

sound 

and 

(4) 

indicates 

35mni 

Filent. 

(5) 

indicates 

35mm 

sound. 

(6) 

indicates 
silent. 

35mm 

sound 

and 

Continuout  injertiont  under  one  heading,  $2.00  per  iuue;  additional  listing*  under  other  headinas.  $1.00  each. 


Bauscb  &  Lomb  Triple  Purpose  Micro-Projector, 
the  simplest  of  several  models,  designedjor  teach- 
ing an  entire  class  with  a  single  slide. 


A  Single  Slide  Serves  Fifty  Students 


Today,  thousands  of  specialists 
must  be  trained  in  all  branches  of 
:ience . . .  and  they  must  be  trained  thoroughly  and 
uickly. 

This  calls  for  systematic,  uniform  training . . . 
)r  the  most  efficient  and  eflfective  use  of  available 
laterials.  It's  a  place  where  micro-projectors  in  the 
ands  of  competent  instructors  can  save  hours  of 
istruction  time  .  .  .  make  slides  and  microscopes 
o  much  further. 

The  B&L  Triple  Purpose  Micro-Projector,  shown 
ere,  is  an  example  of  the  type  of  teaching  tool  that 
i  finding  such  an  important  place  in  both  civilian 
nd  military  war  training  courses.   It  is  another 


example  of  the  way  in  which  the  Bausch  &  Lomb 
skill  and  experience  in  the  manufacture  of  precision 
optical  instruments  for  peacetime  use  are  being 
applied  in  the  war  eflFort. 

Here  again,  because  of  its  wartime  accomplish- 
ments, Bausch  &  Lomb  will  be  able  to  extend  its 
optical  services  to  peacetime  pursuits  when  Vic- 
tory is  won. 

For  Bausch  &  Lomb  Instruments  essential  to 
Victory — priorities  govern  delivery  schedules. 

BAUSCH  &  LOMB 

OPTICAL  CO.   •   ROCHESTER,  NEW  YORK 
ESTABLISHED  1853 


M  AMERICAN  SCIENTIFIC  INSTITUTION  PRODUCING  OPTICAL  GLASS  AND  INSTRUMENTS  FOR  MILITARY  USE.  EDUCATION.  RESEARCH,  INDUSTRY  AND  EYESIGHT  CORRECTION 


WARTIME 
PROJECTORS 


SHOULD  BE 


^^^^d7^ 


S.V.E.  Tri-Purpose  Projectors  conserve  not  on 
the  teachers'  time  in  showing  slidefilms  or 
2"  X  2"  slides  but  also  vital  war  material 
One  projector  does  the  work  of  three.  A  Mr 
ited  quantity  of  Tri-Purpose  Projectors  is  ava 
able  for  vocational  training  and  pre-inducti( 
courses  upon  receipt  of  approved  W.P.B.  for 
1319,  certifying  the  buyer's  authority  to  pi 
chase.  Ask  your  visual  education  dealer  f 
copies  of  form  1319  or  write  direct.  Society  f 
Visual  Education,  Inc.,  100  East  Ohio  Stret 
Chicago  11,  Illinois. 


SUdett* 


^«^-  lu    itovn   f»gj    itav 


on 


/ 


BUY    MORE    WAR    BONDS 


PROJECTORS